PRACTICAL 
PAINTING 



Practical Painting 



AND 

HOW TO USE 



2^^^V^^^j^^ 



COMPILED BY 

A. M. HEATH and J. B. CAMPBELL 



Price SI.OO 

COPYRIGHT 1905 
BY 








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PREFACE. 

The foundation upon which the painter of to-day must 
conduct his work in order to reap the greatest profit is prac- 
tical knowledge. He cannot go about his efforts disregard- 
ing facts which require his most careful consideration in or- 
der to produce satisfactory results. There are certain prin- 
ciples and laws which must be followed in all work pertain- 
ing to painting, but these by no means constitute every 
point to which the painter must look if he desires to build 
a reputation on high class work. 

Painting of to-day is a radically different proposition 
from what it was twenty or twenty-five years ago, and the 
same rules which governed work of that period by no means 
apply to the work of today. Conditions have changed, and 
the successful painter is the man who understands present- 
day requirements and shapes his work to meet these new 
demands. 

Advanced conditions have worked many a new problem 
for the painter and paint manufacturer. The vast consump- 
tion of White Pine and Poplar, practically the only two woods 
which were used for building purposes some twenty or twen- 
ty-five years ago, is far in excess of the production and sup- 
ply, which fact has led to the use of between twenty and 
thirty different woods, each necessitating a different treat- 
ment in painting. This is only one of the modern prob- 
lems which the painter has to handle. 

The vast consumption of building timber demands a 
mechanical process for drying and seasoning, because na- 
ture's process is too slow, and with relying on nature the 
supply would fall short of the demand. The product of the 
mechanical process is far different than that of nature, and 
requires a much different treatment in painting than the old- 
fashioned nature seasoned and dried lumber. 

Demand has done still more. It has forced the cutting 



PREFACE. 

of trees at all seasons of the year, and practical experiment 
has taught that lumber from a tree which has been cut in 
winter is vastly different from lumber of a tree which has 
been cut in summer. In winter the sap is down; in summer 
it is up. Thus a building entirely constructed of the same 
kind of wood requires on the sappy parts certain treatment 
in the painting, while on the other parts a much different 
treatment; or, at least, these facts must be taken into con- 
sideration and a uniform treatment planned which will best 
satisfy both conditions. 

It is often the case that on a frame building constructed 
in this age there have been three or four different kinds of 
lumber used. The siding may be of Yellow Pine, the corner 
boards and cornices of Cedar or Poplar, and the mill work, 
such as frames, sash, columns, etc., of whatever the manu- 
facturer can buy the cheapest, covered with a worthless 
primer to hide the defects. The painting of such a building 
requires a thorough knowledge of the class of paint treat- 
ment all of these different woods demand and is certainly a 
difficult class of work to handle. 

Some woods absorb paint readily, others only moderately, 
while still others do not absorb at all unless forced to do so 
through certain reductions of the paint. 

Another point to consider is the different drying proper- 
ties of the different woods, some of which are natural dryers 
and assist the paint in hardening, while others work just the 
opposite. 

The seasoning process to which lumber has been sub- 
jected also plays an important part in the resulting character 
of the wood. 

If kiln-drying is too rapid the timber may be case hard- 
ened, in which instance it is liable to check badly, and if toe 
great heat is applied the fiber is of course injured and the 
strength reduced accordingly. 

There is much kiln-dried lumber used, and a good per- 
centage of it has been subjected to too rapid a drying pro- 
cess, where, on the other hand, air-dried lumber has no op- 
portunity to lose any of its physical strength or toughness; 
thus, the surface of a building all constructed of the same 
species of lumber may vary as much as though constructed 
of two or more lumbers of widely different character. 

Often we find lumber which has both hard and soft 



PREFACE. 

streaks in it, and if you will carefully watch the drying pro- 
cess of the priming coat which has been applied to it, you 
will note that, on the hard streaks the primer will set on the 
surface and continue tacky for days and days, and for that 
matter may never thoroughly dry in; where, on the soft 
streaks the primer has penetrated and dried, within a very 
short period of time. This class of surface is most difficult 
to treat, and it is almost next to an impossibility to produce 
an absolutely satisfactory result in connection with it. 

The foregoing are not all of the difficulties with which 
the paint manufacturer and painter have to contend, but 
they serve to demonstrate that on the priming coat depends 
satisfactory or unsatisfactory results of the finished job; 
they further illustrate how impracticable it is to disregard 
the conditions of the surfaces to which the paint is to 
be applied. To overlook this point is like disregarding the 
importance of a foundation to a building and considering only 
the part exposed to view. Sooner or later the building is 
most likely to tumble;' likewise with a good paint over a sur- 
face which has not been carefully considered before the prim- 
ing coat was applied, or over a poor primer, and even over a 
good primer that has been improperly applied. 

With all of these conditions confronting the paint manu- 
facturer and painter, it is not remarkable that the opinion 
of many should be in the direction that paint of to-day is 
not on a par with that of twenty years ago, when conditions 
were the same on every building and nil work successfully 
done by following a few set rules. But when one studies 
all of these present-day conditions and sums up the many 
obstacles confronting the painting fraternity, he concedes 
it marvelous that any satisfactory results whatsoever are 
accomplished. 

By placing the reader in touch with these conditions, 
he is made familiar with the great value of this book, which 
deals with the many different woods used for exterior build- 
ing - in the United States, covers their different characteristics, 
their varied susceptibilities to paint, and outlines in brief in 
connection with each wood the only practical reduction for 
priming coats which will produce satisfactory results in the 
finished job. 

This work has been accomplished through having can- 
vassed tiie oountry north, east, south and west, and obtain- 



PREFACE. 

ing every bit of practical Information possible relative to 
the different lumbers used for exterior building, and aftei 
having obtained all of this knowledge, much practical ex- 
perimenting with these different lumbers was conducted in 
order to ascertain their many peculiarities relative to absorp- 
tion, drying properties, susceptibility to paint and variance 
in grain. Although each day in the many hundreds spent 
in connection with these experiments produced new prob- 
lems, however, embodied in this book is an abundance of 
practical knowledge which cannot help but aid in every 
possible way those who make their livelihood through the 
mediums of brushes, oils and paints. 

Not alone does this book deal with the different woods 
used for building, but it covers in a most comprehensive 
manner every feature which enters into the work of the 
painter and gives him the key to every practical point per- 
tabling to his vocation, outlining the proper methods to pur- 
sue in order to insure progress and success. It has not 
been with any selfish motive in view that this work has 
been undertaken, but more with the hope that through im- 
parting this knowledge much assistance would be lent in 
the direction of establishing a better condition in the field 
of painting and also set right the many false impressions 
regarding the inferiority of present-day paint as compared 
with the old-fashioned product which could not possibly fill 
present-day requirements. Especially is this book intended 
to teach the fundamental and detailed methods of painting 
and to give the man who uses the brush a line of new 
ideas which will keep him at the top of his vocation. 

It may not be advisable to try and digest at one time 
all of the information given in this book, but take it piece by 
piece, and as you thoroughly familiarize yourself with each 
individual part, apply this one feature to your work— then 
look for results. 

It is to be hoped that the knowledge you acquire in the 
reading of this book will work to your profit in every possible 
way and through such knowledge you may ''help establish 
better conditions in painting,'* the object which prompted 
the effort spent on this book of vast information. 



CONTENTS. 



Preface. 

Measurement of Surfaces. 

Consideration of Surfaces. 

Tools, their Uses and Care. 

Characteristics of Different Woods. 

Linseed Oil. 

Turpentine. 

Proper Reductions of Paint. 

Treatment of Mildew. 

Dryers. 

Priming. 

The Paint. 

Hardening and Drying of Paint. 

Cautions and Pointers. 

Conditions of Surfaces. 

The Painting of Galvanized Iron. 

Treatment of Plastered Walls. 

Protection of Wall Decorations. 

All Classes of Exterior and Interior Painting, 
Staining and Finishing. 

Description of and How to Use The Heath & 
Milligan Products. 



IN 



^V PAGES 

Absorption 75-76 

Alligatored Paint 98 

Aluminum Paint, Luna, Directions for Use 194 

Amount of Paint Required for a Given Surface 129-130 

Ash 48-49 

B 

Barns, Wooden Bridges, Etc 170 

Basswood 22-23 

Best Prepared Paint, H?M ', Directions for Use 138-144 

Birch 40-41 

Blinds— Outside 90, 91, 105 

Blistering 101, 102, 103 

Blistering Over Ochre 103-104 

Brick and Stone Work 141-171 

Brushing 78 

Buggy Paint, Climax, Directions for Use 189-190 

Burned Surface— Repainting 100-101 

c 

California Cedar 30-31 

California Redwood 36-37 

Cautions 135, 136, 137 

Chestnut 50-51 

Cleaning Brushes 203 

Colors in Japan, Superfine, Directions for Use 201 

Colors in Oil, Best jftM 165-166 

Consideration of Surface — New Work 7-8 

Consideration of Surface — Old Work 8-9 

Cottonwood 20-21 

Crack and Crevice Filler, Ajax, Directions for Use 156-157 

Cracked and Peeled Paint 95-96 

Cracked Surface 96, 97, 98 

Cupboards and Pantries 119-121 

Cypress 38-39 



*-* PAGES 

Dead Flat Finish, Railway White Lead 164 

Dipping Shingles 170 

Dried Dust, Free . 77 

Drying— Old Work 127 

E 

Ebony or Flat Black Finish 118 

Egg Shell Gloss, Railway White Lead 163 

Elm 56-57 

Enamel, Bath Tub, MM, Directions for Use 188 

Enamel, Ebony Stove Pipe, Directions for Use 187 

Enamel, MM Liquid, Directions for Use 182, 1S3, 184 

Enamel, Satsuma Interior, Directions for Use 185-186 

Enamel— Three Coat Work 117 

Evaporation 75 

Exterior Painting— Old Work, Cautions 94 

F 

Family Prepared Paint, Directions for Use 192 

Fence Work 93-107 

Finishing Coat, Cautions 84 

Flat Black, MM, Directions for Use 197-198 

Flat Brick Red, Durable MM 173, 174, 175 

Flat and Enamel Interior Finish — Old Work 125 

Flat Finish, Railway White Lead 163 

Flat Finish— Three Coats 117 

Floor Paint Creolite, Directions for Use 148-149 

Floor Painting 145 

Floors, Interior 120 

Floor, Kitchens and Pantries— Old Work 126 

Foundation and Flues, The Paint S9, 90, 105 

G 

Galvanized Iron Painting 108-109 

General Directions 131, 132, 133, 134 

Gloss Interior Finish— Old Work 124-125 



PAGES 

Gloss Work, Tints 116 

Gloss Work, White 115 

Graining Colors, flfM > Directions for Use 200 

Graining, Ground 119-120 

Graining, Ground— Old Work 126-127 

Graphite Paste, £ftM 176 

Graphite Liquid, fi&M 177-178 

Green in Oil, Crylight, Best f&M 167 

Ground Color, fpM 181 

Gum 24-25 

H 

Half Flat Finish, Railway White Lead 163 

Hard, Dry 77 

Hardening and Drying of Paint 75-76 

Hard Pine 58, 59, 60 

Heath & Milligan Paints, The 128 

Hemlock 42-43 

I 

Interior Finish — New Work, Protection and Preparation 

of Surface 112, 113, 114, 115 

Interior Finish— Old Work 124 

Interior Painting — New Work 141-142 

Interior Painting— Old Work 142-143 

J 

Japa,ns— Dryer 66-67 

K 

Kitchens and Pantries— Old Work 125-126 

L 
Lumber — New Work 14-15 

M 

Maple 54-55 

Measure a Surface 5, 6, 7 

Michigan Red Cedar 32-33 



PAGES 

Middle Coai— Cautions • 83-84 

Mildew 65 

IN 

New Work — Cautions 81 

o 

Oil 61-62 

Oil Paint Interior Finish— Old Work 124 

Oil Paint— Tints , 116 

Oil Paint— White 115 

Oil Reduction 63 

Old Work— One Coat 107 

Oregon Fir 44-45 

Oregon Pine 46-47 

P 

Paint, The 70-71 

Paint and Varnish Remover, Wizard, Directions for Use_202-203 

Patent Dryer, Best ffl$M ', Directions for Use 159 

Peeled Paint 99-100 

Plastered Walls, To Paint 122-123 

Pointers, A Few 79-80 

Poplar 1 '- 18-19 

Porch and Floor Paint, ffl$f, Best Prepared, Directions 

for Use_._. 146-147 

Primer 71-72 

Priming 68-69 

Priming — Cautions 81-82 

Protection of Walls 123 

Putty— Cautions 82-83 

R 

Red, Verm&MM 168 

Repainting Under Normal Conditions — Exterior 94-95 

Roof and Barn Paint, IXL, Directions for Use 169 

Roof— Cautions 88, 89, 104 

Roof Paint, Moss Green HfM ■, Directions for Use 172 

Roof, The Paint 89 



25 PAGES 

Screen Door Paint, iPM ', Directions for Use 193 

Setting of Paint 77 

Shingle Roofs 170 

Solid Dry 77 

Spongy Paint 77 

Spruce 26-27 

Sta 
Sta 
Sta 
Sta 
Sta 
Sta 
Sta 
Sta 
Sta 
Sta 



ning 120-121 

ning Chairs and Furniture 155 

ning New Floors 153 

ning Old Floors 153-154 

ning Old Painted Floors 154 

ning— Old Work 127 

ning Tables, etc 155 

n, Oil Wood MM 179 

n, Sunshine Finishes 150-155 

n, iPM Varnish 180-181 

Stock White, JnfcMl, Directions for Use 158 

Store Fronts, Iron 111 

Store Fronts — New Work 110 

Store Fronts— Old Work 11J 

Sunshine Finishes, Directions for Use 150-155 

Sunshine Ground Color, Directions for Use 155 

Surface Dry _• 77 

T 

Tacky Paint-. 77 

Three Coat— New Work— Railway White Lead 162 

Three Coat— New Work 140 

Three Coat Work, Finishing Coat 88 

Three Coat Work, Middle Coat 87 

Three Coat Work, Priming 86-87 

Tin Roofs, Spouts and Metallic Surfaces 170-171 

Tools 12 

Tools, Care of 13 

Trimming Colors .__ 143-144 

Turpentine 64 

Turpentine Reduction 63 



PAGES 

Two Coat— New Work 1 140 

Two Coat New Work , Railway White Lead 161 

Two Coat Old Work, Railway White Lead 163 

Two Coat— Old Work 141 

Two Coat Work, Finishing Coat 85-86 

Two Coat Work, Priming 85 

V 

Veranda Columns and Rails, New Work— Cautions 91 

Veranda Columns and Rails, Old Work— Cautions 106 

Veranda Columns and Rails — The Paint 91 

Veranda and Porch Floors— Cautions 92 

Veranda and Porch Floors— The Paint ... 92-93 

w 

Wagon and Implement Paint, HtfM. ', Directions for Use. 191 

Washington Cedar 34-35 

When not to Paint 10-11 

White Cedar 28-29 

White Lead Railway, Directions for Use 160-164 

White Oak J 52-53 

White Pine . 16-17 

Window Sash, New Work — Cautions 90 

Window Sash, Old Work— Cautions 105 

Wood Filler, Electric, Directions for Use 195-196 

Wood Filler, Liquid Light, Directions for Use 199 

Y 

Yellow Ochre Primer, Its Dangers 72, 73, 74 

z 

Zinc Finish 118 



ESTABLISHED I SSI. 




Heath & Milligan Mfg. Co. 



HOW TO MEASURE OR ESTIMATE A SURFACE TO BE 

PAINTED. 

EXTERIOR WORK. 

To correctly estimate, one must know that a square is 
100 square feet and that a square yard is 9 square feet. He 
must then obtain the actual dimensions of the surface to be 
painted. He must know how many square feet there are in the 
work, the condition of the surface and the amount of labor and 
material required to do the work, whether one. two or three 
coats. He must know on which part of the work he will 
have to double and treble measure; that is, where the work 
must be measured two or three times to arrive at the amount 
of time necessary to paint it. After he has taken all of these 
points into consideration he is ready to make an intelligent 
estimate; however, all rules for measuring a surface to be 
painted will fall short of the desired result if good judg- 
ment is not used. No definite rules can be furnished which 
will give a basis for arriving at the exact amount of labor 
necessary on work which is difficult to handle and requires 
extra ladders, staging or scaffolding. Should the estimator 
misfigure, he will either lose money or lose the job. 



6 Heath & Hilligax Mfg. Co., 

How to Measure <t Estimate n Surface t<> be Painted, Exterior 

Work- < !ontinued. 

To measure a building, take a tape line and begin at 

one corner of the building, measuring all of the same height 

together; multiply this by the height of the building, com- 
mencing at the outer edge of the cornice and running to 
the lower edge of the baseboard, adding 1 to iy 2 feet to the 
height for the edges of weatherbbarding. This will give 
the number of square feet in the building. 

To measure a gable, take the length of rafters, multiply 
by V2 of the height from the square to peak or comb of the 
roof. This will give the number of square feet in any 
gable. 

This is all called plain work when painting and no ex- 
tra measurements are allowed for two or three story work. 
Above three stories, one-half extra measurements are al- 
lowed. Wall work measure solid, no windows or doors de- 
ducted. 

.Stave or wainscoating cornices— iy 2 measurement. 

Shingle gables— 1% to double measurement. 

Dormer windows— 1%, to double measurement. 

Dimension shingles cut— l 1 /^ to double measurement. 

Dimension shingles dressed— single measurement. 

Dimension shingles cut, undressed— l 1 /* to double meas- 
urements, according to the amount of work. 

Spindle work, turned— measured solid on both sides. 

Shingle work and pickets, square— 3 measurements. 

Veranda railings and columns— measured solid. 

Veranda ceilings, beaded and rafter finish— double 
measurements. 

Verandas, plain— measure floor and ceiling, allowing for 
the brackets and columns. 

Verandas that have heavy columns and rails— measure 
floor, ceiling and the entire veranda solid. 

Columns, rails, lattice and turned work— double meas- 
ure. 

More elaborate scroll or ornamental work; also square 
spindle work, close set— treble measure. 

Outside blinds— 3 measurements, usually done by the 
pair. 

Lattice work— 2% to 3 measurements. 

Picket fence— 3 measurements. 

Another system for measuring verandas which is com 
sidered one of the most difficult by a great many painters 
is to measure the floor and ceiling solid, then meas- 



Practical Painting. 7 

How to Measure or Estimate a Surface to be Painted, Exterior 

Work— Continued. 

ure around the veranda the same as in measuring the 

building, taking the height around over cornices to the lower 

edge of base or lattice work, and double this measurement 

if many brackets or much scroll work. 

ROOF WORK. 

Roofs are measured solid except coping, which is extra 
if painted a different color. 

INSIDE MEASUREMENTS. 

Inside work is measured solid on both doors and win- 
dows, with three inches allowed on each square opening for 
tracing edges; base never less than one foot. Stair, rail 
and balustrade, three times. 

WALL WORK. 

With wall work, where the doors and windows are 
painted, one-half to two-thirds of the openings is deducted; 
where the openings are not painted, one-third is deducted; 
cupbpards and pantry shelves, iy 2 measurement. 

Floors measured solid — plain work. 

CONSIDERATION OF SURFACE. 
NEW WORK. 

In figuring a piece of work, the consideration of the 
surface to be painted is of as much importance as meas- 
urements. There are certain lumbers used for exterior 
building which cannot with safety, to produce satisfactory 
results, be finished with two coats of paint, owing princi- 
pally to the great absorption of the lumber, as well as its 
varied grain, ranging from dark to light. If the paint is 
mixed heavy enough to cover the dark grain the lumber will 
not be satisfied, and while a single painting may show 
satisfactory results, it will not sufficiently penetrate nor 
bind to withstand contraction of future coats, thus caus- 
ing the paint to break from the surface. 

Upon the reputation of a painter depends his success. 
His reputation is his principal stock in trade and should 
not be jeopardized by doing work against his judgment. If 
an architect, contractor or property owner has specified two 
coat work without consideration of the surface, and three 



8 Heath & Milligan Mpo. Co., 

How to Measure <>r Estimate a Surface to be Painted, Exterior 

Work— Continued. 

coats are necessary, an explanation as to the resulting dan- 
ger through such should be given him. If his views can 
not l»r changed, don't try to hide the surface by plastering 
on the paint, hut apply two properly reduced and brushed 
out coats, remembering the surface must be satisfied even 
at the expense of hiding. It is much better for all con- 
cerned to have the lumber satisfied, thus leaving a good 
foundation for subsequent paint coats, even though a sur- 
face may be left which will soon show signs of wear under 
weather exposure through not having sufficient pigment to 
form protection, than to apply heavy coats which will not 
properly penetrate nor bind and with future coats soon 
break away, leaving a surface which will always be a 
treacherous one to paint no matter how much judgmeut may 
be used in future painting. 

OLD WORK. 

The value of a practical painter is his practical knowl- 
edge in knowing how to treat or repaint a surface in order 
to produce the best results, no matter in what condition 
the surface may be. It is impossible to give definite in- 
structions regarding old work, as conditions are too varied, 
but there are a number of important points which should be 
carefully considered in figuring on this work. In appear- 
ance the building may be in first-class condition and ap- 
parently only need freshening up. Examine the surface 
carefully and determine whether the foundation coat is 
properly bound to the surface. Do not be responsible for 
some one else's careless work in not having properly satis- 
fied the surface, thus not leaving a foundation to which 
subsequent coats can be applied with satisfactory results. 
If you work over such a surface, you are the one who will 
be blamed, as invariably the statement is made that the 
building was in good condition before the last coat of paint 
was applied. Don't hesitate under such conditions to rec- 
ommend that the building stand for a longer period before 
repainting, or, the application of but one coat of paint so 
mixed that it will penetrate through the old coating and 
into the original surface. 

Never apply two coats of paint to an old surface when 
one coat properly reduced will answer the purpose. There 
is as much danger in applying too much paint as too little. 



Practical Painting. 9 

How to Measure or Estimate a Surface to be Painted, Exterior 

Work— Continued. 

Repeated heavy coats of paint, while they may he well 
hound together, and to the surface, under contraction and 
expansion may hreak loose either from the surface, or one 
coat from another, this depending upon the thickness of coats 
and depth of penetration of priming and elastic finishing 
coats. 

If the surface is cracked, checked or peeled, carefully 
consider in figuring whether scraping will produce a satis- 
factory foundation or whether burning of the surface is 
necessary: also whether an extra coat must be applied to 
even up the surface in parts in order to leave a proper founda- 
tion for finishing coats. 



10 Mi. a in & MuxiGAH Mfg. Co., 

WHEN NOT TO PAINT. 

There are certain times of the year when outside paint- 
ing should not be done If satisfactory results are to be ex- 
pected. If painting is dene too early in the spring, the 
surface is very apt to be full of frost and moisture and the 
pores closed through contraction, thus producing uneven 
absorption. The side of the building exposed to the heat of 
the sun will expand and the pores open to a greater extent 
than the protected side of the building. All paints and oils 
are much heavier in cold than in warm weather, and if 
applied under a low temperature there is apt to be too 
heavy a coat over a contracted surface, which will crack 
through expansion under the summer heat. 

Do not paint after a frost or in early spring when frost 
is leaving the ground, filling every part of the building 
with dampness. Remember that heat ascends and brings 
the dampness with it. 

Taint should never be applied to extremely hot sur- 
faces. Paint applied under extreme heat sets and dries very 
rapidly | and under the direct heat of the sun's rays is very 
apt to blister, especially en old work. Remember that tints 
absorb while white reflects heat, and when it is too hot to 
paint with white, remember it is also too hot to paint with 
tints. This should not be taken as an argument against 
summer painting, but only as a caution against working on 
extremely hot 'surfaces. 

In spring painting follow the sun with your work. In 
summer painting let the sun follow you. Switch your work 
according to the time of the day. 

Do not paint while the plaster is drying out; allow 
time for it to harden through. Remember there are 80 to 
90 gallons of water used in every 100 yards of plastering, 
most of which must escape some place. If the building is 
tightly closed or is being dried by heat, the moisture will be 
largely driven out through the siding, causing the paint to 
break away, blister or peel. 

Do not paint buildings having damp basements without 
first removing the cellar windows and ventilators so as to 
have a free circulation of air, thus drying out the under 
part of the building; otherwise the dampness will go up 
through the house between the siding and plastered Mall 
and be attracted to the surface through the siding. 

Do not paint near fresh mortar beds. The heat, mois- 



Practical Painting. 11 

When Not to Paint— Continued, 
ture and fumes from the lime will be absorbed by the oil 
in drying, causing it to flatten out and destroying its life. 

Do not paint in sultry weather or in a heavy, wet atmos- 
phere, as the moisture from such conditions penetrates the 
surface to an extent that it takes several days of good dry- 
ing weather for the building to again be in condition to re- 
ceive paint. 

Do not paint during or immediately after a heavy fog 
or dew. In a few hours lumber absorbs more dampness in 
this kind of weather than from heavy rains. Moisture from 
heavy fogs and dews penetrates lumber to a greater depth 
than from any other source. It is especially important to 
guard against these conditions. 

In most sections of the country the season of exterior 
painting is comparatively short and it is a great tempta- 
tion for painters who have been obliged to lie idle all winter 
to start early spring painting. The season of painting can be 
easily extended and more satisfactory results obtained by 
using judgment as to the best time of the year to paint a 
building according to its surroundings. There are very few 
property owners who would not be willing to extend the 
time of painting if shown that better and more satisfactory 
results can be obtained by so doing. 

A building exposed to the sun and weather on all sides 
Will dry out much quicker and be in condition to paint much 
earlier in the spring than one in a confined space where 
the sides of the building are not exposed to the sun or have 
no opportunity to dry out before the summer weather ar- 
rives. 

A building surrounded by vines or dense foliage is in 
no condition to paint until the heat of the summer has 
drawn the moisture, not alone from the building but the 
ground surrounding it. The building may be so densely 
shaded that it will be paintable only at a time of the year 
when it would be impossible to apply paint to an exposed 
surface without ' danger of its blistering under the extreme 
heat of the sun. 

Under certain conditions, better results will be obtained 
on a surface which is checked, cracked or shows indications 
of peeling, by allowing the building to stand through the 
summer and deteriorate to the full extent, repainting in the 
fall when the old, loose surface can more easily he re- 
moved. 



12 Heath & Milligan Mpo. Co., 



GOOD WORK CAN NOT BE DONE WITH POOR TOOLS. 

It is false economy to work with poor or cheap brushes. 
A good painter can not do good veork, or the amount of work 
he should, with poor tools. 

Your time is money and time is lost by trying to paint 
with a cheap stock brush. 

It is a mistake to try to work half-handed or with too 
few brushes. 

The kit should consist of a good full stock body brush 
for each color, the size depending upon the width of the 
siding to be painted (3y 2 to 4 inches long stock brush is the 
one usually used); a full stock trimming brush, well broken 
in (There is no economy in using a half worn out body 
brush for trimming colors. A good trimming brush is 
just as essential as a good body brush, as it is impossible 
to cut in on cornices, corner boards and window and sash 
frames with a ragged edged brush); a good chiseled sash 
tool or a 1 inch or 1V 2 inch chiseled varnish brush for 
brackets, mouldings, etc., also a y 2 inch flat chiseled varnish 
brush for sash colors, a good duster and putty and scraping 
knife. This completes an ordinary kit of tools and is suf- 
ficient to do good work. It is not economy to attempt to 
work with less. 



Practical Painting. 13 



CARE OF TOOLS. 

Never put new brushes into water. When through with 
the clay's work, lay them out smoothly full of paint on a 
board; repeat this for several days, or, until the brush is 
thoroughly broken in; then keep it in a brush trough. Do 
not stand brushes on end or keep them in the paint. 

Never let brushes become lousy through allowing paint 
to dry or skin around the bristles or handles. Should the 
brushes become hard by being neglected, they can soon be 
cleaned by putting them in a liquid paint and varnish re- 
mover. After a few hours brush out on a rough board; then 
thoroughly clean the bristles with benzine or turpentine. 
This will not injure brushes of the finest quality. 

Always use a brush in a manner so as to wear the bris- 
tles to a chiseled point. 

Never jam a brush into a corner, thereby making stub- 
by tools. Work it' into the corner in place of jamming it in. 



14 Heath & Mil. ui. an Mfg. Co., 

THE LUMBER. 
NEW WORK. 

The consideration of the character and condition of the 
surface is the most important factor in the work. The kind 
of lumber used in the construction of the building should !>■■ 
carefully studied. Determine whether hard open grain or 
hard close grain; soft close grain or very soft open grain; 
soft and spongy; compact or solid, also whether it is kiln 
or air dried lumber: if kiln dried, and the drying pvorcss 
has been carried on too rapidly the wood may have become 
case hardened, leaving it more brittle and lifeless. Thus 
having lost part of its vitality or physical strength, the paint 
must be mixed to a consistency which will penetrate to a 
depth that will insure satisfactory results. If the paint is 
heavy in consistency and lies on the surface, the fibres of the 
wood will break away through contraction and expansion, 
bringing the paint with it. This trouble is always laid to the 
paint, while the true cause is that the priming coat was 
not properly reduced when applied, so as to penetrate to a 
sufficient depth to insure proper binding. 

"Wood that has been air seasoned has had little or no 
opportunity to lose any of its strength or vitality, and will 
hold paint well if properly reduced and thoroughly brushed 
into the grain. 

It is impossible to have all of a building constructed of 
lumber from the same tree and boards of the same physical 
strength. Part of the lumber may be kiln-dried and case 
hardened; part air dried; part may have been cut in win- 
ter when the sap was down and part in summer when the 
sap was up. 

While it is not practical to have separate mixes of 
paint for the different characters of lumber in the same 
building, IT IS POSSIBLE, PRACTICAL AND NECESSARY 
to examine the work to be painted and note its characterise 
tics as to absorption of oil and drying qualities, also the 
condition of the lumber, whether old, discolored and partly 
decayed from lying in log too long before cutting or in 
some damp place after it had been cut into lumber. Care- 
fully consider whether two or three coats are necessary to 
produce satisfactory results. 

It is impossible to do satisfactory two cont work on 
certain lumber. A priming coat mixed heavy enough to as- 
sist in hiding the dark spots or grain will not contain suf- 



Practical Painting. 15 

The Lumber, New Work— Continued. 
ficient oil or thinners to fully satisfy the wood, and the wood 
will soon rob the paint of its oil or binder. The priming 
coat being applied heavy will not allow of sufficient pene- 
tration of the second or finishing coat to assist in supply- 
ing the wood with ample oil to hold the paint to the sur- 
face, thus resulting in the paint breaking loose in scales, 
elastic on the outside and lifeless on the side next to the 
wood. 

The following treatise on the principal woods used for 
exterior building throughout the United States has been 
based on practical experiments in connection with the ac- 
tion of paint on these different lumbers. Lumber of the 
same class varies in character to such a degree that the in- 
formation given has had to be based on normal conditions, 
viz.; the average run of lumber in quality, grain, sap and 
dryness. 



16 



Heath &. Milligan ^If(;. Co., 




I # 






White Pine. 




Practical Painting. 17 



WHITE PINE. 

This was formerly the chief lumber of the United 
States. The supply, however, is rapidly diminishing-. It is 
prized because of its combination of strength, elasticity, light 
weight and working qualities. It is to soft woods what oak 
is to hard woods, and it stands at present with reference 
to all woods much as iron does to metal. 

A soft, close grained wood, seasons well and compara- 
tively free from shrinkage, has good absorbing qualities and 
readily takes paint on account of its even, uniform grain. 

For priming, the reduction should be to a medium thin 
consistency, carrying enough turpentine to assist in pene- 
tration and working. The priming coat should be applied 
with a full brush, well and evenly brushed out. Ample 
time must be given for thorough hardening. 

While paint dries weli on this surface, the lumber runs 
to occasional pitch pockets into which paint penetrates very 
slowly. Over the sap and pitch pockets paint dries very 
poorly, and unless ample time is given for thorough drying 
over these places, the paint will break loose in a compara- 
tively short time after the priming coat has been applied. 
These pitch pockets are easily detected by the coat spotting. 
Don't paint over such places until thoroughly dry. 

Owing to the even, uniform grain and color in white 
pine, satisfactory two coat work can be done over this lum- 
ber. 



18 



Heath & Milligan Mfg. Co., 




Poplar. 



Practical Painting. 19 



POPLAR. 

In some localities known as Tulip Tree wood, White- 
wood and Yellow Poplar. 

Used extensively for exterior building. 
• The wood is soft, stiff, clear, fine and straight grained 
and stands among trees of broad-leaf series as White Pine 
does among the Conifers. 

A soft, close-grained wood seasons well, moderately 
strong and shrinks but little, has good absorbing qualities 
and is one of the most satisfactory woods for painting. 

The priming coat for this lumber should be reduced to 
a medium thin consistency, carrying enough turpentine to 
assist penetration and working of the paint. 

The priming coat should be applied with a medium full 
brush and be well and evenly brushed out. 

Paint dries well on this lumber. 

If free from dark, hard streaks, satisfactory two coal 
work can be done: This point should be carefully con 
sidered before starting the work. 



20 



Heath & Milligan Mfg. Co., 




Cottonwood. 



Practical Painting. 21 



COTTONWOOD. 

Greatly valued in the manufacture of paper pulp. 

Often substituted for Whitewood, but less desirable. 

A close-grained wood, compact structure, sapwood nearly 
white, heartwood dark brown. It is light, soft, weak, lia- 
ble to warp and difficult to season. When well seasoned has 
good absorbing qualities and takes paint readily. 

Being of a soft, spongy nature, it absorbs moisture rap* 
idly and if allowed to weather will soon mould, turn dark 
and decay on the surface, leaving a dangerous grain over 
which to apply paint, inasmuch as it has no strength or vi- 
tality. The paint will soon break loose and the primer will 
bring the fiber or decayed wood with it. 

It is subject to dry rot, and if paint is applied over this 
wood when containing dampness, dry rot will set in from 
the back of the boards. 

For priming coat the paint should be thin and elastic 
so as not to set up quickly, thus allowing time for the wood 
to be fully satisfied. 

The priming coat should be applied with a full brush and 
be well and evenly brushed out. 

The drying process is medium slow and ample time must 
be given for thorough hardening of all undercoats. 

Owing to the light grain of this lumber, satisfactory 
two coat work can be done. 



22 



Heath & Milliuan Mfg. Co., 




Basswood. 



Practical Painting. 23 



BASSWOOD. 

Known in some localities as Linn or Linden. It is be- 
coming more generally used for exterior building. 

Very straight, close grained and of compact structure. 

It is light, soft and tough, but not durable. Not difficult 
to season. 

A soft, close grained wood of medium absorbing quali- 
ties, takes paint readily. 

On account of its compact structure, the primer should 
be mixed thin and elastic, so as not to set up quickly and 
to allow time for the wood to be fully satisfied. 

The priming coat should be applied with a full brush 
and be well and evenly brushed out. 

Paint dries well on this lumber. 

Owing to the color as well as the grain of the wood, 
satisfactory two coat work can be done over this lumber. 



24 



Heath & Milugak Mfg. Co., 



M&J^im 



Gum. 



Practical Painting. 25 



GUM. 

Not durable when exposed. Shrinks and warps badly 
in seasoning. However, it is used in some localities for ex- 
terior painting - . 

Although heavy, it is rather soft but strong, close and 
cross grained. 

A soft, close grained wood, medium slow to absorb, if 
well seasoned, takes paint readily. 

On account of its being slow to absorb, the primer 
should be mixed to a thin consistency with a full oil reduc- 
tion, carrying sufficient turpentine to assist in penetration 
and working. 

The priming coat should be applied with a full brush and 
be well and evenly brushed out. 

Ample time must be given for thorough drying and 
absorption, as paint dries very slowly on this lumber. 

If selected lumber and free from dark streaks, satis- 
factory two coat work can be done. 



ili:\ in & Mii.i.kian Mfg. Co., 




Spruce. 



Practical Painting 



SPRUCE. 

Resembles and often substituted for White Pine. 

A light, soft, straight and close-grained wood with oc- 
casional pitch pockets. Apt to warp and twist in seasoning. 

Although a soft, medium close-grained wood, it does not 
absorb a heavy paint and the primer should be mixed to a 
thin consistency, carrying a liberal amount of turpentine to , 
assist in penetration. 

The priming coat should be applied with a full brush, 
be well and evenly brushed out and ample time given for 
thorough absorption and drying. 

This lumber is liable to run to heavy growth, which 
point must be considered in the reduction of the primer 
and turpentine used according to this condition, to not only 
insure better penetration but more even covering. 

If selected lumber, satisfactory two coat work can be 
done, but where it runs to heavy growth two coat work 
should not be considered, as it is impossible to cover such 
a surface without danger of priming coats being too heavy. 



28 



Heath & MlLLTOAN Mfg. Co., 




Practical Painting 



WHITE CEDAR. 



White Cedar (Chamaecyparis Tttyoides J.), grown from 
Maine to Florida and from the Gulf Coast to the .Mississippi. 
At its best in Virginia and North Carolina. Is used quit* 
extensively for exterior building. 

It is light, brittle, soft and durable, close-grained and 
of compact structure; sapwood light; heartwood brownish. 
If well seasoned, it absorbs very rapidly and uniformly. If 
properly treated, it should not be a hard lumber to paint. 

The White or Port Orford Cedar of Oregon is used in a 
limited way for exterior building, its principal use, however, 
being for interior finishing and the manufacture of matches. 
It is light, hard, strong and very close-grained. The heart- 
wood and sapwood are similar in color, running to a yel- 
lowish white throughout. It is more resinous than the East- 
ern White Cedar and more turpentine should be used in the 
reduction; otherwise the same information fully covers all 
classes of White Cedar. 

The lumber should be thoroughly dry and well seasoned 
before being primed. Care must be taken to fully satisfy 
the surface with the priming coat, rememberinu- that a great 
deal of oil is necessary in the primer. 

The primer should be mixed to a very thin consistency 
with a full oil reduction, carrying sufficient turpentine to 
assist in penetration and working. 

The priming coat should be applied with a full brush 
and be well and evenly brushed out. 

Ample time must be given for thorough hardening, as 
it requires considerable time for paint to dry on this sur- 
face. 

Owing to its great absorbing qualities, two coat work 
will not produce satisfactory results over this lumber, as 
it requires thin coats to fully satisfy the surface. 

The middle or second coat should be reduced to a medium 
thin consistency. 



30 



Heath & Mii.i.kan Mfg. Co., 



California Cedar. 



Practical Painting. 31 



CALIFORNIA AND OREGON CEDAR. 

Used extensively for exterior building. While grown in 
different sections of the country, their character is similar 
and both should have the same treatment when painting. 

Light, hard, strong and durable. While hard in struc- 
tural qualities, they are very soft, close-grained woods and 
of very rapid absorption. If proper care is used in pre- 
paring the primer, the lumber will take the paint readily. 

The primer should be mixed to a very thin consistency, 
with a full oil reduction, carrying enough turpentine to as- 
sist in penetration and working. 

The priming coat should be applied with a full brush 
and be well and evenly brushed out. 

Owing to the large amount of oil necessary to fully 
satisfy this lumber, drying is slow and ample time must be 
given for thorough hardening. 

Two coat work can not be recommended, as thin coats 
are necessary to fully satisfy the surface. 



32 



Heath & Mhxtgan Mfg. Co. 




Michigan Red Cedar. 



Practical Painting. 33 



RED CEDAR. 

Although a light, soft, weak wood, it is used in some lo- 
calities for exterior building. 

A close even grained wood of compact structure, run- 
ning from dull red heartwood to nearly white sapwood. 

While not resinous, it is from the Red Cedar Juniperus 
Virginiana that Oil of Cedar is obtained. This is a great 
paint solvent and unless the lumber has been kiln-dried 
or thoroughly seasoned, this solvent will act on the primer 
and destroy the binder. 

While classed as a soft wood, it is of medium slow ab- 
sorption. 

The primer should be mixed to a very thin consistency 
with a liberal amount of turpentine to assist in forcing 
penetration. 

The priming coat should be applied with a medium full 
brush and be well and evenly brushed out. 

Ample time must be given for drying. 

Owing to the character as well as varied color of this 
wood, satisfactory two coat work can not be done. Thin 
coats must be applied to fully satisfy the surface and ample 
time allowed for absorption and drying. 

Extreme care .must be exercised in brushing the primer, 
so as not to have an excess of paint on the surface. 



34 



F 1 



Heath & Milligan Mfg. Co., 







Washington Cedar. 



Practical Painting. 35 



WASHINGTON CEDAR. 

A light, soft wood, very close-grained and of compact 
structure. While classed as a soft, very close-grained wood, 
it varies from soft to hard-grained, giving an uneven ab- 
sorption, the softer grain absorbing rapidly, while the harder 
grain absorbs slowly. 

The primer should be mixed to a very thin consistency 
with a liberal amount of turpentine to assist in penetration 
on the harder grain, as well as ease of working. 

The priming coat should be applied with a full brush 
and be well and evenly brushed out. 

Ample time must be given for thorough hardening, as 
the paint dries unevenly on this surface, the drying process 
on the soft grain being good, while on the hard grain the 
paint dries very slowly. 

This is a hard lumber to paint and two coat work can 
not be recommended. It should receive three thin coats of 
carefully brushed paint to insure satisfactory work. Ex- 
treme care must be exercised in preparing and applying the 
primer. 



3G 



Heath & Milligais Mfc. Co., 




LVM-im 



California Redwood, 



Practical Painting 37 



REDWOOD. 

Used extensively for exterior building and a most satis- 
factory lumber for painting if its characteristics are un- 
derstood. 

Light, very soft, durable lumber, not resinous, easily 
seasoned, of coarse straight grain and compact structure-, 
absorbs paint rapidly. 

The primer should be mixed to a very thin consistency 
with a full oil reduction, carrying enough turpentine to as- 
sist in penetration and working. 

The priming coat should be applied with a full brush 
and be well and evenly brushed out. 

Ample time must be given for thorough drying and 
absorption. 

Being dark in color, satisfactory two coat work can 
not be done on this lumber, as the priming coat must be 
mixed extremely thin to fully satisfy the surface. 

Middle coats should be reduced to a medium thin con- 
sistency. In order to satisfy the surface, do not apply heavy 
coats over this lumber. This wood absorbs rapidly and to 
a good depth. 

Heavy coats will cause peeling, as the wood will absorb 
the oil from the pigment. 



38 



Heath & Milligan Mfg, Co., 

1 




Cypress. 



Practical Painting. 39 



CYPRESS. 

A swamp growth, and when green is very heavy. If 
well seasoned, it is very light and very durable. 

A close straight grained wood with brownish heartwood 
and nearly white sapwood. 

A most difficult lumber to paint unless its characteris- 
tics are understood. 

It is of medium slow absorption and like with cedars, 
which this lumber very much resembles, careful attention 
must be given to the priming coat in order to fully satisfy 
the surface. 

The primer should be mixed to a thin consistency: at 
least 20 per cent of the total amount of thinners should be 
turpentine. This will insure depth of penetration. 

The priming coat should be applied with a full brush 
and be well and evenly brushed out. 

Ample time must be given for thorough hardening, as 
paint dries very slowly on this lumber. 

Two coat work will not produce satisfactory results 
over this lumber, as thin coats of well brushed paint must 
be applied to insure satisfaction in binding and covering. 

Heavy coats of paint applied to this lumber will scale 
in a comparatively short time. 



40 



Heath & .Milligan Mfg. Co., 



Practical Painting. 41 



BIRCH. 

While not extensively employed for exterior building, it 
is used for this purpose in some localities. 

A light, hard, strong wood of close grained, compact 
structure, medium slow to absorb. Classed as an easy wood 
to paint. 

The primer should be mixed to a medium thin con- 
sistency with sufficient turpentine to assist in penetration 
and working. 

The priming coat should be applied with a medium full 
brush and be well and evenly brushed out so as not to leave 
an excess of paint on the surface. 

Ample time must be given for thorough absorption and 
drying. 



42 



Heath & Milligan Mfg. Co., 




Hemlock* 



Practical Painting. 



HEMLOCK. 

This is a coarse lumber; however, it is employed in 
some localities for exterior building. 

If well seasoned, it makes a light, medium, hard lumber. 
It is a crooked, coarse-grained wood, apt to warp and splinter: 
takes paint poorly and extreme judgment must be exercised 
in painting over this surface. 

The absorption is very poor and uneven. The paint 
should be mixed to a very thin consistency with an excess 
of turpentine to assist in penetration and working. 

The priming coat should be applied with a full brush 
and be well and evenly brushed out. Elbow grease is nec- 
essary in order to properly prime this surface. 

Paint dries very slowly over this surface and it will be 
found that fully double the time must be allowed for thor- 
ough hardening than would be given to any other lumber. 

Two coat work can not be recommended, owing to thin 
coats being absolutely necessary to produce satisfactory re- 
sults. 



44 



Ml \ III & Milligan Mfg. 

1 11 



Co., 




Oregon Fir. 



Practical Painting. 45 



OREGON FIR. 

Known also as White or Silver Fir. Fir resembles 
spruce in appearance and in its structural qualities. It 
may be distinguished from Spruce as well as Pine by the 
fact that Fir has no resin ducts. 

A light, soft, coarse-grained wood of compact structure, 
absorbs well but slowly. 

The primer should be mixed to a thin consistency, car- 
rying a liberal amount of turpentine to assist in penetra- 
tion and working. 

The priming eoat should be applied with a full brush 
and be well and evenly brushed out. 

The drying is medium slow and ample time must be 
given for thorough drying and absorption. 

Two coat work will not produce satisfactory results over 
this lumber on account of the light brown heartwood which 
is hard to cover. 

A heavy priming coat produces uneven absorption and 
dries with too much gloss. 



46 



Heath & Milligax a!f<,. ( o. 




Oregon Pine, 



Practical Painttkg. 47 



OREGON PINE. 

Known also as Red Pine, Spruce, Douglas and Wash- 
ington Fir. It is neither true pine, spruce nor fir, but a sort 
of bastard hemlock. Its structural qualities are variable, 
usually hard, strong and durable; heartwood, light red to 
yellow; sapwood, nearly white. Lumbermen divide it into 
Red and Yellow Fir, the former dark red and coarse, the 
latter firm, light yellow and more desirable. Known in the 
northwest as Red or Yellow Fir, it being the universal build- 
ing timber of that section for both exterior and interior 
finishes. Owing to its beautiful grain, it is well adapted for 
both staining and natural finishes. It is a difficult lumber 
to season, owing to its resinous character. If well seasoned 
or treated with live . steam to kill the pitch, it takes paint 
and holds it well if properly reduced and applied. 

The absorption is medium slow and uneven; ranks with 
Southern Hard Pine as a difficult lumber to paint and ne- 
cessitates similar treatment. See Pages 59-60. 

The primer should be mixed with a liberal amount of 
turpentine. The priming coat should be applied with a full 
brush and be well and evenly brushed out. The drying is 
slow and ample time should be given for thorough drying 
and absorption. 

Satisfactory two coat work can not be done over this 
lumber, as thin coats must be applied in order to produce 
uniform absorption and satisfactory results. 



48 



Heath & MlLLIOAN Mfg. Co., 




Ash. 



Practical Painting 49 



ASH. 

Although not relied upon for outdoor construction, it is 
used in some localities for exterior building-. 

It seasons well, but does not last when exposed to the 
weather. A heavy, hard, strong lumber of coarse grain and 
compact structure. 

The primer should be mixed thin and still carry enough 
pigment to assist in filling the open grain. Turpentine 
should be liberally used in the priming coat to assist pene- 
tration as well as filling. 

The priming coat should be applied with a full brush 
and be well and evenly brushed out. Most of the brushing 
should be done with the grain of the wood. Careless prim- 
ing will not produce satisfactory results on this surface. 

The drying is good, but ample time must be allowed for 
thorough hardening of the heavier coat which is in the open 
grain. 

Two coat work can not be recommended, as thin coats 
must be applied in order to properly fill the wood. 



50 



Heath & aJilltgax Mfg. Co., 




Practical Painting. 51 



CHESTNUT. 

While not used to any great extent for exterior building, 
it is, on account of its durability, used in some localities. 

A light, coarse-grained wood, seasons badly, and liable 
to check and warp. 

While classed as light, open-grained wood, the absorp- 
tion is medium slow. A most difficult wood to paint and 
requires extreme care in priming. The wood will seem 
to have the grain full of paint when first applied, but when 
hard dry it will be found that the paint has not penetrated. 

The primer must be mixed thin with a liberal amount of 
turpentine. 

The priming coat should be applied with a full brush 
and be well and evenly brushed out. 

The drying is slow and ample time must be given for 
thorough hardening and absorption. 

Two coat work can not be recommended over this sur- 
face, as thin coats must be applied. 



52 


IIiaih & .Mill K.A.N 


Ml 


FG. 


Co., 














Hv'i. : i 






















B 




White Oak. 



Practical Painting. 53 



OAK. 

Formerly relied upon for all purposes in connection with 
house and mill architecture, but now supplanted by the 
softer woods. 

Not used extensively for exterior building. 

An open grained, heavy, tough, durable lumber: liable to 
warp and check unless carefully seasoned. The absorption 
is very slow. 

The primer should be mixed very thin, carrying a liberal 
percentage of turpentine to assist in penetration and work- 
ing. 

The priming coat should be applied with a full brush 
and be well and evenly brushed out. 

The drying is slow and ample time must be given for 
thorough hardening and absorption. 

Two coat work will not produce satisfactory results 
over this lumber, as thin coats are absolutely necessary in 
order to fill and satisfy the surface. 

This lumber must be carefully primed to avoid leaving 
an excess of paint on the surface 



54 



Heath & Milligan Mfg. Co., 




Maple. 



Practical Painting 55 



MAPLE. 

Not used extensively for exterior building - . 

It is grown over a wide range and varies from a heavy, 
tough, hard and strong wood of the sugar or hard maple 
class to a light, soft wood of the boxelder or ash-leaved 
maple class. It is close grained, of compact structure, sea- 
sons well with moderate shrinkage. Owing to its even, 
uniform grain, it readily takes and absorbs paint. 

For primer, the reduction should be to a medium, thin 
consistency, carrying sufficient turpentine to assist in pene- 
tration and working. 

The priming coat should be applied with a full brush 
and be well and evenly brushed out. 

Ample time must be given for thorough hardening. Paint 
dries well and evenly on this lumber. 

Owing to its even, uniform grain and color, satisfactory 
two coat work can be done. 



56 



Heath & Milligan Mfg. ( <>., 




Elm. 



Practical Painting. 57 



ELM. 

A tough, fibrous, durable, strong, hard, heavy and often 
cross grained wood. While used extensively for heavy tim- 
ber and structural work, it is not used to any extent for 
exterior building. 

Heartwood, light brown; sapwood, yellowish white. Sea- 
sons moderately slow and takes paint readily on acccount 
of its fibrous nature. 

For priming, the reduction should be to a medium thin 
consistency, carrying sufficient turpentine to assist in pene- 
tration and working. 

The priming coat should be applied with a full brush 
and be well and evenly brushed out. The paint dries well 
on this lumber, but ample time must be given for thorough 
hardening. 

Satisfactory two coat work can be done over this sur- 
face if judgment is used in reducing the priming coat and 
the surface fully satisfied and evened up. 



58 



Heath & MlLLIGAN Mfg. Co., 




Hard Pine. 



Practical Painting. 59 

HARD PINE. 

Known as hard pine, yellow pine, longleaf pine, short- 
leaf pine, Georgia pine, Southern pine, Norway pine and 
Red pine, according to the locality in which it grows. All 
are of similar character as to their susceptibility to paint. 

A hard, heavy, tough, strong wood, very resinous, coarse- 
grained and of compact structure. It is very hard to sea- 
son and runs from light sapwood to orange heartwood. A 
most treacherous lumber over which to apply paint and one 
which requires extreme judgment in the reduction and 
brushing. 

It is not uncommon to find a building entirely con- 
structed of hard pine, varying from a soft, porous and quick 
absorbing to a hard fat surface into which paint can not 
penetrate. 

While it has been for years the chief building lumber 
of the southeast, it is now used extensively in all sections 
of the country. Practical painters, as well as up-to-date 
paint manufacturers, have given the subject of how best 
to treat this lumber in order to produce satisfactory results 
greater consideration than in the case of any other lumber 
used for exterior building. 

Experience has proven that better and more satisfactory 
results can be obtained in painting over this surface by ap- 
plying thin coats, well and carefully brushed out, carrying 
an excess of turpentine in the primer. 

Heavy coats of full oil reduction should never be ap- 
plied over this surface, otherwise peeling or scaling will soon 
take place. 

Longleaved yellow pine is the source of turpentine in 
this country, and the sap or fat which is contained in this 
lumber is the virgin turpentine and under the heat of the 
sun's rays is brought to the surface and acts as a solvent 
on the oil, soon destroying its vitality or life. More trouble 
is brought about through the attempt to hide or cover this 
surface with heavy oil coatings than from any other source. 

The absorption is very uneven, varying from quite rapid 
on the clear soft parts to very slow on the hard or fat parts. 

The reduction of the priming coat depends upon the 
condition of the surface. If very fat, a larger percentage 
of turpentine must be used than if fairly clear. 

Under all conditions, in priming hard pine, thinner mix- ■ 
tares and more turpentine must be used than would ordi- 



60 Heath & Milligah Mfg. Co., 

Hard Pine — Continued. 

narily be employed in priming a hard surface, the amount 
of turpentine varying, according to the run of the lumber, 
from 25 to 40 per cent of the total amount of thinners used. 

Do not be afraid to use turpentine freely with this 
lumber, as this vehicle restores the life or vitality which 
nature gave it. 

Turpentine will assist in opening the pores of the wood 
and give greater depth of penetration, as well as carrying 
or driving the sap into the wood to a greater depth of bind- 
ing on the hard or fat piaces. 

Apply the priming coat with a full brush and brush out 
■well and evenly. Do not allow the brush to slip over the 
hard places, but work the paint well in. Extra care must 
be taken in brushing over this surface in order to' even up 
the priming and not have too much pigment on the hard 
parts. 

If a building is allowed to stand for a short time before 
priming the grain of the wood will raise and allow of better 
penetration. 

Paint dries very slowly on this lumber and ample time 
must be allowed for thorough hardening and absorption. 

Two coat work can not be recommended, as thin coats 
are absolutely necessary to insure depth of penetration or 
binding. 

Three thin -coats well brushed out- will not leave an ex- 
cess of paint on the surface, while two coats, which would 
necessarily have to be heavy in order to hide or even this un- 
even surface, will break away or scale in a comparatively 
short time. 



Practical Painting. 61 

OIL. 

Of all the liquids -which have from time to time been 
tried in painting, nothing has ever been found that so well 
meets the commercial requirements, both in durability and 
economy, as Linseed Oil. This is due to the peculiar prop- 
erty possessed by a limited number of oils (of which Linseed 
Oil is the only one sufficiently common and low in price to 
merit consideration), viz.: that of drying and absorbing 
oxygen and forming an insoluble, leathery cement or coat- 
ing. It must not be understood that this oil coat is entirely 
unaffected by moisture. On the contrary, a plain coat of 
Linseed Oil, no matter how dry, will, on exposure to ex- 
cessive moisture, become porous and spongy. This condition 
is largely overcome and the underlying oil coating greatly 
protected from overdrying or decay, by mixing with the 
proper pigments to form a paint which is far less porous, 
thus protecting the surface much better and longer than will 
the oil alone. The true life and protection of a paint is not 
the oil, nor yet the pigment, but the proper combination of 
the two, each enhancing the value of the other. 

Always use Raw Linseed Oil where possible in reduc- 
tions. The addition of dryer, whether in the form of Boiled 
Linseed OiJ or Japan, tends to burn or destroy the life of 
oil. There are, of course, exceptional cases where more 
rapid drying, even at some expense of durability, is neces- 
sary. 

Raw Linseed Oil, while a slow dryer, dries on the cor- 
rect principle, which is from the bottom up, allowing of 
thorough, uniform hardening as well as depth of penetration 
by absorption. The drying of Raw Linseed Oil can be as* 
sisted materially by the judicious use of Japan. This as* 
sists nature in hurrying the oxidation but still retains the 
correct principle of drying from the bottom up. An excess 
of Japan tends to burn or destroy the life of the oil, caus- 
ing the undercoats to powder or lose their binding proper- 
ties. It will keep the paint from hardening and make spongy 
work. 

There are very few exceptions to the statement that 
BOILED LINSEED OIL SHOULD NEVER BE USED FOR 
UKDERCOATINGS. Boiled Linseed Oil is a surface dryer 
and sets or skins over, keeping the under surface from dry- 
ing and eventually causing cracking through uneven con- 
traction and expansion. 



62 Heath & Milligan Mfg. i o., 

Oil— Continued. 

Boiled Linseed oil is not a penetrator; owing to its 
heavy gravity and quick-drying properties, it is not readily 
absorbed by the surface and the mixture becomes a surface 
coating only, without sufficient depth of penetration. 

For iron or metallic surfaces. Coiled Linseed Oil with a 
liberal use of turpentine is used and often recommended for 
undercoatmgsj the surface, being non-absorbing, produces a 
surface paint coat and the drying is by oxidation only. The 
turpentine assists in reducing the gravity of the oil, and al- 
lows of quicker drying, more uniform coating and protec- 
tion of the oil by the greater percentage of pigment in the 
mixture. 

Do not keep your Linseed Oil in the shed or in the back 
lot during winter. Linseed Oil which has been frozen or 
subjected to .extreme cold weather is not tit to use in 
painting. Cold congeals the fats of the oil and when sub- 
jected to the heat of the sun's rays they melt, causing a 
greasy surface and running of the paint. 

NEVER BUY OR USE SO-CALLED SL T BSTITUTES FOR 
LINSEED OIL. THERE IS NO SUBSTITUTE. INSIST ON 
HAVING THE BEST AND SEE THAT IT BEARS THE 
BRAND OF SOME REPUTABLE OIL CRUSHER. 



Practical Painting. 63 



REDUCTIONS. 
OIL REDUCTION. 

A full oil reduction consists of oil only with the excep- 
tion of 1-32 gallon of turpentine to the gallon of paint to 
assist in penetration: this is not enough turpentine to de- 
stroy the luster of the paint and will accomplish the pur- 
pose of penetrating a hard or glossy surface where it would 
he unsatisfactory to apply paint without the addition of a 
small percentage of this thinner. 

A liberal oil reduction consists of % oil and Vs turpen- 
tine to form the total amount of reducers; this amount of 
turpentine will cause more rapid and even penetration but 
will not destroy the luster of heavy-bodied paint. 

A medium oil reduction consists of % oil and 14 tur- 
pentine to form the total amount of reducers: this amount 
of turpentine will destroy part of the luster and cause deep 
penetration on a hard surface. 

TURPENTINE REDUCTION. 

A full turpentine reduction consists of nothing but tur- 
pentine and is used for producing a flat paint. 

A liberal turpentine reduction consists of % turpentine 
and Ys oil to form the total amount of reducers. 

A medium turpentine reduction is half and half turpen- 
tine and oil. 

Dark shades require more turpentine to produce the 
same results as to penetration and flattening the paint than 
light shades. Zinc and combination paints require more 
turpentine than strictly pure lead to produce the same re- 
sults as to destroying the luster of the paint. 

Where light shades require X U gallon of turpentine to 
produce the desired results as to flattening or destroying the 
luster, also penetration, dark shades, require 3-16 of a gal- 
lon to produce like results. 



64 Heath & Milligan Mfg. I «... 

TURPENTINE. 

Turpentine does no1 burn the paint as many believe. 
Turpentine evaporates the slowesl of any of the volatile 
paint solvents. It is used to give ease in working, form 
depth of penetration and assist in drying. Use turpentine 
liberally in priming or middle coats. When used in under- 
coatings, turpentine reduces the gravity of the oil and as- 
sists in opening the pores of the wood, thus allowing of 
greater depth of penetration. If used in middle coats or 
for reeoating old surfaces, it assists in penetrating the pre- 
vious coating and materially helps to cut the oil which 
is the gloss of the paint, leaving" a better tooth for the bind- 
ing of the finishing coat. 

Never substitute gasoline or benzine for turpentine; 
they are not substitutes. Gasoline is not a paint solvent; 
it is the lightest of the petroleum products and worthless as 
a substitute for the use to which turpentine it put. Ben- 
zine and naphtha, while better paint solvents than gasoline, 
are light petroleum products of high gravity, reducing rap- 
idly and evaporating quickly; they do not penetrate but 
evaporate on the surface, making the paint work hard, retard- 
ing the brushing out of paint and preventing working the pig- 
ment into the pores of the wood, leaving too much pigment 
and a dangerous undercoat without sufficient penetration ot 
binder. 

Study the surface to be painted and use turpentine in 
the reduction according to the condition of the surface. If 
new work, constructed of hard, close-grained lumber, more 
turpentine must be used than if constructed of soft, open- 
grained lumber of quick absorption. The liberal use of tur« 
pentine in priming improperly seasoned lumber or lumber 
which contains moisture will assist in producing better pene* 
tration. 

In repainting an old surface, the first coat must be re- 
duced with turpentine according to the porosity of the sur- 
face. If a hard, flinty surface, much more turpentine must 
be used than if porous or weather-beaten. The mixture 
should range from flat, half flat to semi-gloss. Never ap- 
ply a heavy coating of full oil reduction. 

Paint which has become fatty and gummy can be par- 
tially remedied by the addition of a small amount of tur- 
pentine. When painting in hot, humid weather, a small 
amount of turpentine added to the finishing coat will aid 
in hardening the paint. 



Practical Painting €5 



MILDEW. 

Mildew is a serious trouble. This is a vegetable growth 
and always a sure indication of dampness. It is impossible 
to satisfactorily paint a surface on which mildew has formed 
unless the surface is first treated to destroy this growth. 

Ochre primers and ochre colors are particularly liable 
to this really serious trouble, due to the fact that they are 
largely of bog origin and contain the seeds or spores as 
they are called from which the mildew mold develops. Such 
growths result not only in a most serious discoloration of 
the work which at times may be taken as fading or change 
of color, but also are very destructive to the paint itself, 
mildew not only developing at times at the expense of the 
vegetable oil itself, but what is even more serious, growing 
between the wood and the paint and thus forcing the paint 
off. 

Vegetable oils like linseed oil are not destructive to this 
vegetable growth, but turpentine is, hence the first thing 
to do in aggravated cases is to wash well and freely with 
turpentine, removing any loose paint — this will very largely 
destroy such growths. In addition, an exceptionally large 
amount of turpentine should be used in the first coat ap- 
plied over such a surface; the paint should be well flatted. 
An undercoating well flatted with turpentine applied over 
a mildewed surface which has been Avashed with turpen- 
tine offers the best possible protection against repetition of 
the trouble. 



•66 Heath & Milljgan Mpo. ( ';>.. 

JAPANS— DRYERS. 

The terms Japan ;iik1 Dryer are iii 11151113- cases synonymous 
as applied to liquid products used by the painter to increase 
the rapid drying of his work. 

The products sold under these names vary so greatly in 
their qualities and usefulness that it has not been considered 
advisable or possible to give specific instruction as to the 
amount to use in these directions for reducing- paint. This 
could only he done were we to limit ourselves to a single Japan 
or Dryer of known quality and strength. 

A wide experience with these products as used by the 
painter shows the greatest possible difference between them. 
Some are sufficiently powerful so that even 5 per cent added 
to Raw Oil is enough to cause it to dry as fast as will Boiled 
Oil, and not only that, but to dry throughout or from the 
bottom up and not merely surface dry as will Boiled Oil. 
Others again are so loaded with rosin and petroleum products 
and so deficient in true drying properties that 25 per cent 
or more is required to accomplish this result and then the 
resulting surface will be spongy or brittle, as the case may 
be, but in any event lacking in durability. The painter is 
strongly advised to test carefully the Japan he uses, be care- 
ful that it does not mush up or curdle when mixed with oil, 
and find from a series of painting tests when his Japan is 
used in different proportions or by mixing in different propor- 
tions with oil and drying on a glass, and noting the charac- 
ter of the dry film, the best proportion of a given japan to 
use and then adhere strictly to these proportions, remember- 
ing that a Japan which properly used is entirely satisfactory, 
will when used in excess frequently retard instead of hasten- 
ing the drying of the paint. 

During damp, muggy Aveather do not attempt to force the 
drying of your paint by the use of an excessive amount of 
dryer. The result can only be lack of durability in the paint 
and loss of reputation to the painter. Wait for time and 
clear weather to accomplish the drying properly. 

The Japan or dryer should be mixed with the paint 
while it is in semi-paste form. The mixing is thus uniform 
and the. results satisfactory. If an attempt is made to add it 
after the paint is ready for the brush, the Japan is liable to 
curdle, it is difficult to mix uniformly and the resulting work 
is liable to be spotted, drying flat in some places and glossy 
in others. 

Study well the action of your Japan with different kinds 



Practical Painting. 67 

Japan Dryers— Continued. 

of paint. Some Japans dry flat, others with a gloss; both 
are useful in their place, but the results are disastrous if the 
wrong class of Japan is used to accomplish a given result. 

It should be borne in mind that Zinc or a combination of 
Zinc and Lead will require either more Japan or a stronger 
Japan than will Lead alone, provided it is essential to dry in 
a given time. Many of the dark colors carry an exceptionally 
large amount of oil and are slow in drying unless assisted 
by a fair amount cf Japan. In such cases, turpentine also 
should be freely used in the undercoats to assist the drying 
and flattening the undercoat. The work will be much more 
durable since an oily undercoat or one carrying a heavy 
Japan gloss is sure to craze, crack or alligator. 

Finally, even at the expense of repetition, we cannot too 
strongly emphasize the fact that for many kinds of work, 
while a drier or Japan is essential to produce the result 
aimed at, to get the work out in a reasonable time and 
avoid the risk of damage from such influences as rain, frost, 
etc., yet on the proper selection and proportion of this dryer, 
rests in the highest degree the durability of the finished work. 



68 Heath & Millioaw Mfg. Co., 

PRIMING. 

This is the most importaint paint coat applied to any 
surface. It must till and satisfy the surface and leave a 
foundation upon which future painl coats can be successfully 

built. It holds the same relative position in painting as does 
the foundation of a house in building. It must last and suc- 
cessfully hold the superstructure as long as it remains. It 
must carry sufficient linseed oil to not only satisfy the sur- 
face but bind or hold the pigment to the surface. It must 
carry sufficient turpentine to cause penetration and assist in 
forcing, by absorption, the oil and pigment into the surface. 
The formation of the pigment must be such as to allow of 
penetration into the surface, and above all, the primer must 
be well and evenly brushed out and into the surface. 

The common idea, viz.: that anyone can prime a building, 
is a serious mistake. The priming coat offers the best oppor- 
tunity for judging a painter's work. If he is a capable, care- 
ful man, he will use as much or more care in applying this 
coat as he would in the application of the second or third 
coat. He will brush the paint into the wood, satisfying the 
soft grain, and carefully brush the hard grain where there 
Is less absorption, leaving an even, uniform coating. 

It is impossible to erect a frame building and have all 
of the timber of the same absorbing qualities. The sapwood 
absorbs paint more readily than the heartwood which is of 
a harder grain. This fact does not necessitate a different 
reduction for each kind of grain in the same lumber, but it 
does necessitate the painter's properly applying and brushing 
out the paint. 

In priming soft wood, the paint should be applied with 
a full brush and enough paint used at all times to satisfy 
the surface. It should be well brushed and especially on the 
harder grain to assist or force the paint into this close grain 
and remove by hard brushing any surplus paint that re- 
mains on the surface. 

On hard or close-grained wood a medium full brush should 
be used in applying the paint, as this class of wood does 
not possess the absorbing properties of softer woods, but 
requires more brushing in order to force a sufficient amount 
of oil and binder into the wood and at the same time not 
leave an excess of paint on the surface. 

If the priming coat is of the proper consistency, carrying 
sufficient pigment to fill and hide the grain, and well brushed 
into the grain of the wood, most of the absorption will 



Practical Painting. 69 

Priming— Continued, 
have ceased with this coat and no excess of pigment left on 
the surface. This thin coat will allow the second coat to pene- 
trate through and satisfy any part of the wood which was 
not fully filled at the time of prim ins;', also allow the second 
coat to bind itself to the wood and priming coat. 

An excess of paint on very porous woods will cause peel- 
ing or chipping. This heavy coat prevents the oil from 
penetrating the woods and assists in holding the coat on the 
surface. The oil and hinder in the second coat penetrates 
into this heavy coat only and does not reach the wood so as 
to assist in forming a solid coat well bound to the surface. 

Paint heavily applied to a hard or close grained surface 
will dry with a gloss, forming a hard glaze over the sur- 
face, into which the second coat cannot penetrate to any 
depth; it will only fasten itself to the outside of this glaze 
coat, whereas it should go through to the wood so as to help 
strengthen the second and subsequent coats. 

Do not prime a building and allow r it to stand any longer 
than is necessary in order to thoroughly harden the paint and 
allow of full absorption. If allowed to weather, the priming 
coat will become porous and absorb the life of the second 
coat and there will not be sufficient binder left to properly 
adhere to the surface. 



70 Heath & Milligax Mfg. Co., 

THE PAINT. 

Provide a mixing keg large enough to hold sufficient paint 
for the coat to be applied and allow of stirring without danger 
of slopping over the side. A flat paddle proportionate to the 
size of the mixing keg, a good strainer and a set of measures 
are essential for the proper preparing of the paint. 

The mixing of paint is no small job. The mechanical part 
is the breaking up or combining the paste paint with the 
oil and thinners to a consistency ready for use. 

The mixing of colors or tints is an art that cannot be 
acquired by every one. Persons may be able to distinguish 
between red, green and blue in their solid; but can not dis- 
tinguish between the shades or tints made by combining the 
colors with w T hite, consequently, can not match colors or mix 
paint. 

The mixing of paint to the proper consistency for the 
work in hand and keeping it uniform is very important and 
can not be successfully done without making one mix of the 
amount necessary for the coat to be applied; this should be 
mixed by one person in charge. It is hard for two men to 
mix two pots of paint the same or right consistency, as con- 
sistency, like distance or measurements, is not determined 
alike by everybody. 

Figure out the amount of paint necessary for the work 
in hand. Supply a mixing keg large enough to hold the full 
amount of paint required, allowing for reduction and plenty 
of room to stir.' If a liquid or prepared paint is to be used, 
note carefully the directions given by the manufacturer. The 
full amount required for the coat to be applied should be 
emptied into the mixing keg and thoroughly stirred; the 
thinners, if any are necessary, added by measure and well 
incorporated with the paint. In breaking up paste paints, 
the thinners should be added gradually to insure smooth and 
uniform results in the mixture. If all of the thinners are 
dumped in at once, the mixture will be lumpy. Where japan 
is used, always get the best and use it sparingly. Never add 
japan last or after the mixture has been thinned down. 
Japan, when added in this way, is very apt to cause curdling 
and it is almost impossible to work the japan into the 
mixture. First, the paint should be reduced to a heavy con- 
sistency with part of the oil and the japan and turpentine 
added while in this consistency. A good rule to follow is 
to mix the japan and turpentine together in a can, shaking 
well and adding this to the lead when breaking up. The 



Practical Painting. 71 

The Paint— Continued, 
balance of the oil can then be gradually added until the 
proper consistency has been obtained, without danger of 
lumping: or curdling; the mixture. 

It is very necessary to know the amount of turpentine 
and japan needed in the mixture. Turpentine and japan 
should be measured before adding. It is best always to 
measure the oil, so as to allow of readily ascertaining- the 
cost of the paint. Where it is practicable, better results can 
be obtained by breaking- up the paint one or two days before 
using. 

All paint from priming: to finishing coat should be 
strained. This assists in more thoroughly combining the pig- 
ment with the thinners, also assures a more uniform mixture 
in tints than can be obtained in any other way. 

Prevent the paint from skinning over as much as possible 
by keeping the mixing keg tightly covered. Paint from which 
the skin is being continually removed will soon become very 
slow in drying properties. Do not allow paint to become fatty 
by leaving it exposed from one day to another. This is de- 
cidedly important with priming coats when the paint is mixed 
for part of the cornice or some part of the building, then 
allowed to stand for two or three days till another portion 
of the building is ready for priming, and especially impor- 
tant when this is repeated from day to day until part of the 
paint has been mixed and left open for ten days or two 
weeks. Paint which has been exposed for several days is not 
fit to be applied on wood, as it will only surface dry, if it 
ever dries at all. A great deal of the trouble in portions of 
buildings going wrong after the second or third coat has 
been applied can be traced to fatty priming. 

Always keep the paint clean, free from skin and dirt 
and well strained. 

Keep brushes and pots clean and the work will be easier 
and better done and the painter himself will feel better satis- 
fied as the results will be always in his favor. 

PRIMER. 

Never use a cheap primer. While cheap in the first cost, 
it is without exception the costliest in the end. The primer 
should be of the best and of the same material as the inter- 
mediate and finishing coats. 

Dry colors mixed by hand should never be used for 
priming. All paint pigments are much more bulky in the 
dry state than when properly handled under pressure and 



72 Heath & Mii.lk.an Mpg. Co., 

The Paint— Continued, 
combined with oil. When a mixture is made without pres- 
sure, the outside particles of the pigment arc only coated 
with the oil or thinners, and when applied to a surface, the 
wood having a greater attraction for the oil than does the 
pigment, the surface will absorb the oil from the pigment, 
leaving a dry. porous coating to which subsequent coats can 
not successfully bind. 

YELLOW OCHRE PRIMER. 

Under the present existing conditions. Yellow Ochre as a 
primer should be condemned by all practical painters as the 
most treacherous primer to use. While it must be admitted 
that Yellow Ochre was successfully used for years as a 
primer, still the conditions under which painting is done to-day 
are changed. 

It is claimed that Y'ellow Ochre is a good filler, good- 
oil carrier, easy to apply, stops absorption and is cheap. The 
practical painter of 15 or 20 years ago, who successfully used 
Ochre as a primer, had practically but two painting surfaces 
to consider — White Pine and Poplar, both of a similar charac- 
ter as to their susceptibility to paint— while now there are 
over twenty different kinds of lumber used of as many 
different characters. At that time the Ochres in use were the 
Imported French Ochres, all of a similar character, the nat- 
ural composition of which was Oxide of Iron, Silica and 
Clay with Iron' and Silica predominating. Such Ochres in 
the hands of a mechanic who understood the character 
of Ochre and studied the surface over which they were ap- 
plied produced satisfactory results. These same Ochres 
are still obtainable and are used by all practical paint 
manufacturers as the base of the best grade products, such 
as a straight ground Ochre in Oil or as a tinting medium or 
combination color for the base of Olive Green, etc., but owing 
to the deposits of these Imported French Ochres being gradu- 
ally worked out, the costs have advanced to such a figure 
that they are classed as too high priced for the average dealer 
to handle or the consumer to use. 

While formerly there were several brands of Imported 
French Ochre, still they were of one general character and 
the treatment of one would answer for the treatment of all. 
In the past Ochre was Ochre, but with the present so-called 
French Ochre, or Domestic Ochre, or more properly speaking, 
yellow muds, which are the only Ochres obtainable within a 
price to which the consuming public has been educated, there 



Practical Painting. 73 

The Paint- Continued. 
are as many different kinds and characters as there are sec- 
tions from which they conic. 

When we have said that the Domestic or substitute French 
Ochres which are sold dry or ground in oil of doubtful char- 
acter, and of such quality that the manufacturer is ashamed 
to put his name on the package, have no commercial value 
as a painting pigment, we have covered the whole subject. 

These cheap Domestic Ochres are not fillers; they plaster 
over the grain of the wood in place of filling it. They are 
also very susceptible to moisture and mildew, both of which 
will cause trouble. 

It is impossible to thoroughly combine dry Ochre and oil 
by simply mixing them with a paddle. The Ochre can not be 
satisfied with oil under these conditions and when applied 
to a soft surface will absorb the oil from the wood, destroy- 
ing the binder. On hard wood such a mixture will spread 
or slip over the surface without penetration, and if elastic 
finishing coats are applied they will break loose and peel off 
in large flakes in a comparatively short time. 

Another cause of trouble is due to the fact of its being 
so hard to keep the Yellow Ochre Primer of a uniform con- 
sitency while working. When the work is commenced, the 
paint will apparently be of the right consistency for priming 
coat; after a few minutes' work it will be found to have 
become thick; this is on account of part of the oil having been 
used. If the paint is not again stirred or broken up until 
half the contents of the working pot is used, it will be found 
to be of, still heavier consistency, and before the user is aware 
of it a thick, heavy coat of non-elastic paint will have been 
applied to parts of the building. The reason for this is that 
the material is so light- in weight and works so easy that too 
heavy a coat will have been applied before it is noticed in the 
working. For this reason it is almost impossible to apply a 
uniform coat of dry Ochre and Oil to a surface. 

The custom of mixing a high grade Ochre with White 
Lead in the proportions of 15 or 20 lbs. of Ochre to 100 lbs. 
of Lead is one that can not be condemned if the painter 
knows and studies the character of the surface which such a 
mixture leaves. 

Ochre is a good extender. It will allow of a larger 
percentage of oil in the mixture than will White Lead, thereby 
better satisfying the surface; but owing to its being of an 
entirely different composition, chemically and physically, than 
White Lead and leaving a much harder and less porous sur- 



74 Heath & Milligan Mfg. Co., 

The Paint— Continued. 
face, finishing coats will not successfully bind unless this 
characteristic Is studied and understood and care taken in 
mixing the finishing coat so it will penetrate tins hard 
coating. 

The principal danger from using a mixture of high grade 
Ochre and White Lead is that the man who does not under- 
stand these characteristics and sees no reason why the 
cheaper grade should not he used with as good results as the 
higher qualities copies from the practical man who does 
understand, or thinks he is copying and falls short of satis- 
factory results. 

It is often the case that a painter is called upon to finish 
a building which has been primed with Yellow Ochre by the 
house owner. In such cases, carefully study the character 
of the surface before preparing- the paint for the finishing 
coats. It will be found in most of these cases that the surface 
is unevenly covered and will necessitate extreme care in 
brushing and applying the middle coat to have even absorp- 
tion and binding. 

Ochre as a pigment is naturally a slow dryer and can be 
classed next to Lampblack in this respect. One of the greatest 
dangers from its use as a primer arises from applying finish- 
ing coats over it when it is only surface dry, as well as not 
understanding its characteristics when thoroughly dry. 

Even the best Ochre Primer which has been allowed to 
stand and thoroughly harden through leaves a hard, flinty 
surface, to which subsequent coats can not bind nor pene- 
trate unless its character is understood and the reduction 
of the finishing coat is made and applied accordingly. On 
such a surface turpentine must be used liberally in the middle 
coat to force penetration through this hard surface. 

If a dry Domestic Ochre mixed by hand has been used, 
the surface will be porous and full of air spaces. Under no 
consideration should an attempt be made to finish over such 
a surface with one coat of paint, as the first coat over this 
primer must be mixed thin with a full oil reduction and 
sufficient turpentine to not only satisfy by absorption the 
partially dry Ochre on the surface, but penetrate through and 
into the surface. 



Practical Painting. 75 

HARDENING AND DRYING OF PAINT. 

Paint dries by oxidation, evaporation and absorption. 

OXIDATION. 

Oxidation of paint is of the utmost importance. This ac- 
tion consists of the absorption of oxygen by linseed oil, 
whereby it entirely changes in its nature from a fluid which 
can be readily brushed out, to a tough, leathery coating. 
During tins change the linseed oil gains in weight about 
16 per cent by the absorption of oxygen, notwithstanding the 
fact that at the same time certain losses in the oil have taken 
place. 

Raw linseed oil remains fluid for a period of several days, 
during which time it is continually absorbing oxygen which 
enters the entire body of the oil, causing it to dry through- 
out or from the bottom up. The addition of turpentine also 
assists this same process, acting as an oxygen giver to the 
oil. 

Boiled linseed oil dries much more rapidly than raw, but 
quickly forms a dry film over the surface. This acts as a 
senl against the farther drying of the paint through absorp- 
tion of oxygen by the underlying oil. This surface-drying, 
leaving soft oil below, is very objectionable. For this reason, 
the true principle of drying from the bottom up or through- 
out, as shown by raw linseed oil alone or with the assistance 
of turpentine and certain dryers, should warrant the use 
of raw linseed oil as far as possible. 

EVAPORATION. 

The drying of paint by evaporation is largely due to the 
turpentine present, of which the major portion, after perform- 
ing a threefold function, disappears. In this way turpentine 
has rendered the paint more fluid, making it possible to use a 
larger proportion of protective pigment with the oil, has 
assisted in the oxidation of the oil, and, most important, has 
greatly assisted both oil and pigment in penetrating the wood 
or underlying paint, thus binding them together as a more 
perfect whole. 

ABSORPTION. 

Owing to the cellular or spongy nature of the wood, or 
in some cases the old paint over which a coating is applied, 
absorption of oil and turpentine takes place as long as the 



76 Heath & Milligan Mfg.. Co., 

Hardening and Drying of Paint— Continual, 
oil remains liquid. This absorption is naturally greater with 
a Blow-drying raw <>ii; assisted by the penetrating action of 
turpentine, than with quick surface-drying boiled oil, and 
consequently adds greatly to the life of the wood. At the 
same time, one of the most important points to receive careful 
attention is that the oil be so regulated to different surfaces 
as to fully satisfy them without, on the one hand, leaving 
an extremely oily surface void of sufficient pigment, and, on 
the other hand, a dry coat of pigment from which the oil has 
been so far absorbed as to leave insufficient binder to insure 
durability. 

HARDENING AND DRYING OF PAINT. 

Hardening and drying of paint are classed together, but 
there is a great difference between the two. Paint can be 
called dry, and in fact be dry, but it does not mean that the 
paint is hard dry or sufficiently hard to be coated over. The 
difference is very material, especially as applied to the wear- 
ing qualities of the paint. 

When the paint has not hardened through and is soft 
underneath, it allows of sinking in of the second or finish- 
ing coat. This is apt to cause the paint to lose its gloss, 
spot out and crack. Middle coats applied over a surface 
which is not hard dry will not dry properly; the undercoat 
being soft will retard the oxidation from the bottom, caus- 
ing the paint to skin over or surface dry. 

If paint begins to dry slowly from the bottom and more 
rapid oxidation takes place on top, forming a skin, there 
will be a soft coat between the two, and as drying takes 
place in the center, it will draw the top skin or coating, 
causing the paint to crinkle. 

Paint, varnish or similar products applied over a glossy 
surface or a surface which is not hard dry are more apt 
to remain tacky than if applied ever a thoroughly hardened 
and flat surface. 

Some paint pigments are natural dryers, while others 
are non-dryers ; the non-drying pigments when used in 
painting, if not properly prepared and applied over a suit- 
able surface, are very apt to dry tacky and remain so. 
Paint will dry in a few hours, but it takes days for it to 
harden. Drying of paint is classed in many ways, as fol- 
lows : 



Practical Paintinq. 77 

Hardening and Drying of Paint— Continued. 
SETTING OF PAINT. 
Setting: of paint means that the coating has commenced 
to oxidize or dry to a point where the surface has a tough 
tack or pull under pressure of the hand. 

DRIED DUST FREE. 

Dried dust free means that the paint is sufficiently dry 
so that dust or dirt will not adhere to the surface. 

SURFACE DRY. 

Surface dry means that the paint has commenced to 
dry or skin over the surface. "When touched with any pres- 
sure, the skin ■will break and expose an undry coating of 
paint. 

SPONGY PAINT. 

Spongy paint means that the paint is not. solid or hard 
through. This is caused by an excess of oil or japan which 
has not thoroughly oxidized. 

TACKY PAINT. 

Tacky paint is more often caused by improper applica- 
tion of the undercoats than through any fault of the paint 
itself. This tacky surface which has not hardened through 
is caused by the application of paint over an undry or glossy 
surface, or the use of rosin oil, rosin japan or an excess of 
boiled or fatty oil. 

Tacky paint leaves a variable surface according to these 
conditions, hard in cold weather and soft in warm weather, 
no matter how long applied. Paint applied over such a sur- 
face is sure to alligator. 

SOLID DRY. 

Solid dry undercoats means that the paint has dried 
solid throughout and can be scuffed or scraped. This sur- 
face is not easily affected by heat, is not over elastic and 
does not contain an excess of oil. 

HARD DRY. 

Hard dry means thorough and uniform oxidation of the 
oil from the bottom out. Such a surface is tough and elastic 
throughout. 

If satisfactory results are to be expected, sufficient time 
must be allowed for each coat to thoroughly harden 
through. Be sure the undercoats are hard dry before apply- 
ing subsequent coats. 



7.8 Heath & Milligah Mfg. Co., 



BRUSHING. 

In giving instructions for the application of paint, too 
much stress can not he brought to hear upon the importance 
of thoroughly brushing, or, to use an old term, of applying 
plenty of "elbow grease" in spreading the paint. On the 
working or brushing of the coat rests, to a great extent, the 
success of the material as to its durability in wearing and 
its protection of the surface to which it is applied. 

It is an old and true saying that poor paint well brushed 
will last longer and have a better appearance than .the 
best material loosely applied or flowed onto the surface. It 
is a fact that the best material, in the preparation of which 
great care has been exercised, will not give good results if 
improperly applied. The reason is that paint applied in this 
manner will not bind to the surface, neither will it dry nor 
harden properly, and a coat of paint that is not properly 
bound to the surface over which it is applied will be found 
to be hard dry on the outer surface, while it is not properly 
hardened through. 

The better or fuller stock brush used, the more satis- 
factory will be the result, as a soft or cheap brush will not 
permit of thoroughly brushing the paint into t'ne surface; 
it acts more like a mop than a brush, allowing only of 
smearing the surface over with a coat of paint. 

One of the most important facts in thorough brushing 
of paint is the forcing of the air through the paint by the 
aid of the bristle and in this manner thoroughly mixing the 
oxygen with the paint, also forcing the confined air out of 
the surface to which the paint is being applied and in its 
place forcing the oil, turpentine and pigment, thereby seal- 
ing the pores' or grain of the wood against dampness, also 
causing deep penetration of the paint and its proper drying 
and hardening. 



Practical Painting. 79 

A FEW POINTERS. 

Do not expect the paint to do all the work. It won't. 
No manufacturer of paint can make one paint which will 
meet every requirement. 

A successful painter is one who. makes a thorough study 
of the work on hand and knows what is necessary in order 
to produce the best results. If oil or turpentine is needed, 
he should know where and how much. 

The workman must always remember that "cleanliness 
is next to Godliness," and always have a clean suit of white 
overalls once a week— never wear blue or any other color. 
Remember that it is an insult to a good workman to have 
a man come on to work with a colored uniform; the man 
who does this is branded a "dub," and usually is. 

Always have a clean piece of cloth with which to keep the 
hands clean and remove spots from glass, door knobs, etc. 
A small amount of vaseline rubbed over the hands before 
commencing work will keep paint from drying hard and 
through such the paint can be removed with very little ex- 
ertion. 

Always keep your entire appearance clean and tidy, so 
if invited into the house for any purpose you will not be 
ashamed to go. 

Never suggest some other color after the selection has 
been made; it may cause you a lot of extra work. 

Never go into a house to loosen sash or like work until 
you ask permission. 

Never take hold of curtains and window shades with 
dirty hands. Best ask the people of the house to adjust 
them for you. 

Always inform the occupants of the part of the build- 
ing on which you are going to work, as it is not always con- 
venient to have painters in certain parts of the building at 
certain times. 

When working for Mrs. K., never speak of the condition 
in which you found Mrs. J.'s house or back yard. Such is 
none of your business— you are employed to paint, not talk. 

Never take liberties with other people's property, such 
as hammers, hatchets, step-ladders, etc., without first ask- 
ing the privilege to use them. It is better to have tools of 
your own. 

Inhaling of paint and kindred products often makes sonic 
persons temporarily sick. However, the amount of poison 



80 Heath & Milligan Mfg. Co , 

A Few Pointers— Continued. 
absorbed Into the system in a lifetime through this inhaling 
<;in do but little harm. Where, on the other hand, the pores 
of the skin will absorb enough poison in one year to event- 
ually bring about a very serious complication of physical 
troubles. Therefore, it is most essential for the painter to 
practice decided cleanliness. 

Never criticise taste or selection of colors. Tastes differ. 
What suits you might not suit your customer. It is best to 
let people make their own selections and you do the work. 
You need all the friends you can get. Do not make enemies 
by talking about your brother painter's work. Yours might 
not turn out as you expect— we are all liable to mistakes. 



Practical Fainting. 81 

EXTERIOR PAINTING. 

NEW WORK. 

CAUTIONS. 

Be sure the character of the lumher is understood as to 
its absorption of the paint, and to assure satisfactory results 
see that the paint is reduced as thin as possible according to 
the conditions. 

DO NOT PAINT immediately after rain storms, heavy 
dews, fogs or in frosty weather. 

See that the surface to be painted is thoroughly dry and 
in proper condition to receive paint. 

Do not follow too closely after the carpenter,, as siding 
which has been tied in bundles is very often wet on the in- 
side. Allow time for the siding to dry out, remembering that 
it is very hard to secure dry lumber. 

Do not apply Shellac too heavy to knots and sappy places. 
Have it thin and brush well into the knots or other places 
that require Shellac. 

Where light shades of paint are to be applied, use white 
or very light colored Shellac. 

PRIMING. 

CAUTIONS. 

It is bad practice to prime a building from a carpenter's 
scaffold. It is best to have the entire building ready to 
prime at one time so that the same mix of paint can be used. 
In this way a more even and better coat of priming can be 
given. 

When a building or any part of it is ready to receive the 
priming coat, the carpenter should remove all scaffolds, 
blocks and braces. This leaves the building with no part 
of the surface hidden and all of it can be primed without in- 
terference. Ridges are left on a building primed with blocks 
or braces nailed to the corner strips or any part; when 
touched up, it is impossible to hide these spots so they will 
not soon show through the second and third coats. 

It is good policy to always prime a building before the 
plasterer commences his work, as the priming coat will keep 
| the dampness and fumes of the mortar beds from penetrating 
I the surface. 

Reduce the paint according to the absorbing properties 
1 of the surface. Do not be afraid of getting the primer too 



82 Heath & Milligan Mfg. Co., 

Exterior Painting. New Work, Cautions— Continued, 
thin. It must be thin enough to both satisfy and fill the sur- 
face and not leave an excess of pigment on the surface. 

The reduction must be with oil and turpentine, accord- 
ing to the character of the surface. Where hard, close grained 
woods are to be painted, a large percentage of turpentine 
must be used to assist in opening the pores of the wood and 
allow of greater depth of penetration. 

The main point in priming is to satisfy all of the sur- 
face, thus leaving a uniform, even coating. A soft place 
here and there that is not satisfied and has received only 
half enough paint will soon dry out spotted; other places, 
where the wood is hard, an excess of paint which will dry 
with a heavy gloss. 

A good and satisfactory job of painting can not be done 
over an uneven coat of priming. The priming coat should 
be applied with as much care as the finishing coat. Great 
care should be taken in keeping the paint of a uniform con- 
sistency. 

Where it is possible, prime the entire building at one 
time, as it is hard to prime a building in patches and obtain 
uniform results. 

In priming, use a full brush of paint to satisfy the soft 
spots, brush well and do not allow a surplus of paint to 
remain on the hard places. 

The priming coat should be as thoroughly and carefully 
brushed out as - the finishing coat. To accomplish this, a 
good full stock brush must be used. Do not try to use a 
half-worn or cheap brush, as good results can not be ac- 
complished with poor tools. 

Use a medium full brush for painting under projections, 
cornices and under edges of the siding, being sure to fill all 
of the joints with paint; then use a full brush on the face 
of the siding and corner strips, thoroughly working the paint 
out under the brush so the pores of the wood will be filled. 

Be careful not to use a dry brush on any part of the 
work. 

A building primed in the foregoing manner will leave 
an even surface over which to work and the second coat 
will go on smoothly and can be brushed out, thereby saving 
time and material. 

PUTTY. 

CAUTIONS. 

Do not use cheap, ready-made Putty. If it is not pos- 
sible to secure Putty that is known to be made from Linseed 



Practical Painting. 83 

Exterior Painting, Now Work, Cautions— Continued. 
Oil and Whiting, it is best for the painter to make the Putty 
himself. This will not take much time and he can always 
be assured of overcoming some very annoying results. 

CHEAP PUTTY will peel from glass or after being traced 
with paint. Where used in grooves or over nail heads, it 
will turn yellow after paint has been applied. It is also apt 
to fall out, which is one of the most annoying things that 
can happen. 

A formula still in use by old practical painters is to take 
5 lbs. Gilder's Whiting, 
1 pint Raw Linseed Oil, 
the Whiting gradually added to the oil and well kneaded in. 

As the mixture becomes too stiff to work by hand, pound 
it off with a mallet until all of the Whiting is added and 
mixture is of a glazing consistency. 

For a waterproof or harder-drying Putty for use in floor 
seams or other exposed places, to the foregoing add one 
pound of keg Lead well worked in. If the keg Lead is of a 
thin consistency, a little more Whiting may be necessary 
to bring the Putty to the proper consistency. This latter mix 
will be found to be more durable and produce more satisfac- 
tory results for glazing and all exterior puttying. 

Knife Putty into all seams, cracks and nail holes; do not 
use the thumb in pushing Putty into seams and cracks. 

MIDDLE COAT. 
CAUTIONS. 

Be sure the priming coat is hard dry. 

Do not have the second coat too oily, thus drying with 
too high a gloss, as this will cause the finishing coat to crack, 
peel and flatten. 

Do not paint over dirt, grease or mud splashed on the 
building from down spouts. 

Do not paint over frosts, dews or wet places. 

Do not paint while the plastering is drying out. 

Be sure the basement is not wet or damp. If such is 
the case, the moisture is liable to go up through the house 
between the walls and siding and be attracted to the surface, 
causing dampness between coats, which will result in peeling 
in a short time. 

See that the basement windows or ventilators are open, 
allowing the basement to thoroughly dry out before applying 
a second coat of paint. 

Use a full stock brush that has been well broken in; even 



84 Heath & Milligajs Mfg. Co., 

Exterior Painting, New Work, Cautions— Continued. 
up by thoroughly brushing any skips or uneven places in the 
priming coat. 

Where light shades are used for trimming, better results 
will be obtained by applying the trimming color on both the 
middle and finishing coats. Medium dark shade trimming 
colors can be used for the finishing coat only. Apply two 
coats for solid colors, such as Green, Black, Red, etc., or one 
coat over a suitable ground color. 

FINISHING COAT. 

CAUTIONS. 

Do not paint when there are indications of rain or the 
weather becoming cold. 

Do not work late in the evening of cold nights. The 
paint w r ill pucker or crinkle if a frost or cold wind strikes it 
when half dry. 

Do not attempt to apply paint early in the morning, or 
on a surface that has been covered with frost the previous 
night. Allow plenty of time for the surface to dry. 

After the paint has set, do not attempt to touch up the 
«pots that have been missed. This will cause peeling of 
:such places. W T ait until the paint is dry, repainting the parts 
-on which such spots may show. The paint should be well 
brushed and plenty of elbow grease used. Paint flowed on 
-to cover or hide the surface will soon crumble or break away 
:in scales. No paint can be properly applied to a surface 
-without heavy brushing; this makes one coat adhere to the 
•other. Heavy brushing also starts oxidation by forcing the 
:air through the paint. Thorough brushing keeps the paint 
•coat even and uniform and prevents the paint from crinkling 
•or leathering, which is sure to be the result if it is not uni- 
formly applied. Improper brushing will produce heavy spots 
which are sure to pucker or crinkle, eventually causing the 
paint to blister or peel on these places. 

Always finish a stretch before leaving for lunch or at 
night. Do not attempt to touch up ladder or stage marks, 
as such will always show in spots. Paint the whole board 
•on which such spots show. 

Always have the paint for the finishing coat free from 
specks and dirt. 

Good work can not be done with dirty or lousy brushes. 
Clean out pots at night. Put brushes away carefully. 

If skins have formed or dirt has gotten into the paint, 
■strain it before commencing to work. 



Practical Painting. 85 

Exterior Painting, New Work, Cautions— Continued. 
TWO-COAT WORK. 

PRIMING. 

(Note Cautions in regard to Priming.) 

Before commencing, be sure that satisfactory two-coat 
work can be done on the lumber to be painted. 

Be sure the surface is dry, as the priming for two-coat 
work is of heavier consistency than for three-coat work and 
there is not the chance for the surface to dry out that there 
is if a thinner coat is applied. 

Brush the paint out well. Do not flow on, leaving the 
paint heavy in one place and thin in another. 

Remember this coat is to help cover the grain, as well 
as fill the wood, and only one more coat is to be applied to 
complete the work. If not uniformly applied, the last coat 
will soon show the effects of bad priming. 

Work the paint well into nail holes, cracks, beading and 
seams. Avoid "holidays," as they will show up when the 
second coat is applied. 

Have the paint of a medium thin consistency, carrying 
sufficient turpentine to assist in penetrating and filling the 
wood. This coat must both satisfy and fill and leave suffi- 
cient pigment on the surface to assist in covering or hiding 
the grain of the wood. 

FINISHING COAT— TWO-COAT WORK. 

(Note Cautions in regard to FINISHING COAT.) 
Be sure the priming coat is hard dry over the entire 
surface before commencing to apply the second coat. It is 
very often the case that part of the work has been primed 
for a month or six weeks and other portions have stood for 
only a few days on account of the inability of the carpenter 
to finish the entire building, or like causes. Places such as 
the latter will in a short time crack or peel, and when a 
complaint is entered the entire house is given credit for hav- 
ing been primed a month or six weeks. 

Do not apply the finishing coat during the time the 
plasterer* are at work, as there is more or less trouble caused 
by the mortar being splashed or thrown over the work during 
this time; this necessitates retouching, which can not be 
done without showing spots. 

Do not apply the finishing coat during the time the 
plaster is drying out, as it will absorb the moisture from the 
plaster, causing trouble through the paint peeling by having 



86 Heath & Milligan Mfg. Co., 

Exterior Painting, New Work, Cautions— Continued. 
dampness between coats. 

Finish the interior of the building before applying the 
exterior finishing coat This will give time for the plaster 

to dry out somewhat before this finishing eoat is applied and 
result in a more clean and satisfactory job. 

See that the basement ventilators are open. This assists 
in properly drying out the basement. 

See that the surface is perfectly clean and free from 
plaster mortar before starting the work. 

Carefully putty all nail holes, seams and cracks. 

Reshellac the knots or sappy places where the pitch 
may have come through the priming. 

As this is the finishing coat, exercise care in having the 
paint uniform and kept to the right consistency to insure 
proper covering. The paint should be of a full oil reduction 
so as to be elastic, as this coat must both hide the surface 
and withstand severe exposure; it must be carefully applied 
and of the best material in order to accomplish these results. 

Use a good stock brush and one that has been properly 
broken in. A new brush will not allow of proper application 
or spreading of the paint. 

Work out well under the brush to insure proper binding 
and a smooth, even coat. 

Do not use a paint which has to be flowed on to hide the 
surface, as this will leave a spongy coat without proper 
binding. 

Bring the body and trimming color down together. Wipe 
off the body color from corner strips, door and window 
frames. Do not work this paint, off with a trimming brush, as 
this will cause spots. Square up the work at noon and 
night so as not to have any laps. 

THREE COAT WORK. 

PRIMING. 
(Note Cautions in Regard to Priming.) 

See that tne surface is dry and in condition to receive 
paint. Study the character of the lumber and reduce the 
paint according to its absorbing properties. 

Note general information in regard to priming new work. 

The paint should be mixed to a thin consistency to fully 
satisfy the lumber with only enough pigment used to till 
the grain of the wood and not leave an excess of pigment 
on the surface. This will allow the middle coat to penetrate 
through the priming coat to a sufficient depth to adhere to- 



Practical PAINTING. 87 

Exterior Painting, New Work. Cautions— Continued. 
tbe fiber of the wood, as well as the pigment in the primer, 
thereby assisting in binding- itself to the surface as well 
as to the coats that are applied over it. 

If the primer is mixed to a heavy consistency, it will 
retard absorption or penetration and leave an excess of pig- 
ment on the surface that will under contraction and expan- 
sion break loose when successive paint coats are applied. 

SECOND OR MIDDLE COAT. 

(Xote Cautions in Regard to .Middle Coat.) 
Before applying the second or middle coat, be sure the 
priming coat is hard dry over the entire surface. 

Xote general information in regard to middle coat, new 
work. 

As this is the medium between the foundation or prim- 
ing coat and the protecting or finishing coat, extreme judg- 
ment must be used in mixing the paint for this coating. It 
must not be too elastic and should dry firm without a high 
gloss. 

The paint for this coat, being the easiest working of any 
applied to the building, requires thorough and careful brush- 
ing to assure satisfactory results. 

Reshellac knots or sappy places if necessary. 

Knife putty into cracks, seams or nail holes. 

The paint should be mixed heavy so as to brush out well, 
also assist in filling and penetrating the priming coat, leaving 
a surface to which the finishing coat will readily adhere, as 
well as a surface which properly dries from the bottom out. 

Too heavy an oil reduction will leave a high glossy sur- 
face over which the finishing coat will not adhere or properly 
dry. The reduction should be with sufficient turpentine to 
form penetration and still make a paint which will be elastic 
enough to withstand contraction and expansion and dry firm. 
Over such a surface the finishing coat can be brushed out 
smoothly and evenly without crawling or slipping under the 
brush. The paint will dry without danger of puckering, 
leathering, or flattening of the finishing coat as would be the 
case in a short time if applied over a high gloss. It is also 
very apt to crack and peel if oily coats are applied one over 
another. It is almost impossible to have solid painting with 
an excess of oil in undercoats as the coats will most always 
be spongy, rarely adhering closely to one another. 



88 Heath & Milligah Mfg. Co., 

Exterior Painting, Now Work, Cautions— Continued. 
FINISHING COAT-THREE-COAT WORK. 

See that the undercoat is hard dry over the entire 
surface. 

The surface should be perfectly clean and free from dust 
and dirt. 

Reputty where necessary. 

Follow the same precautions as previously given for 
finishing coats. 

Brush thoroughly and carefully. Use a full stock brush 
properly broken in. 

Do not use new brushes for finishing coats. 

The paint for this coat should be the most elastic one 
applied, as it must stand the most severe exposure. 

It should be of good consistency with a full oil reduc- 
tion, mixed so as to brush out smoothly and evenly, remain 
where left without danger of running or sagging and dry 
from the bottom out. 

The drying and gloss are always assisted by having the 
under or middle coats properly reduced and applied. 

Follow previous instructions as to cleaning off body color 
on parts that are to be trimmed. Bring down and square 
up the work so as not to show laps or poor workmanship. 

ROOF. 
CAUTIONS. 

Be sure the surface is dry- 
Do not use tar oil or other offensive smelling oils that 
will ruin the cistern water. Turn supply pipe from cistern 
when painting the roof. 

Mix the full amount of paint required for the first coat, 
as it is very difficult to make two mixes for shingles which 
will appear the same. 

Apply uniform coats to prevent spotting. 

Have the priming coat thin so it can be easily worked 
into the cracks. 

Keep ladders from resting on tin or in gutters. Hook 
over the comb of the house. 

Trim the ridge-board and coping as the work progresses. 
In doing this work do not go over the roof with the ladders 
after it is finished. 

The life of a shingle roof can be more than trebled if 
the shingles are dipped into properly prepared paint before 
being laid. 



Practical Painting. 89 

Exterior Painting. New Work, Cautions— Continued. 

In dipping the shingles, they should be dipped at least 
eleven inches. This will allow 4% inches to the weather 
and 6% inches for the under lap. 

Never dip damp shingles; break the band around the 
bunch and spread them out to allow of drying before dipping 
or applying the paint. 

For dipping shingles, use paint of the proper consistency 
for finishing coat, reduced with not less than 50 per cent 
raw linseed oil. 

When the shingles are laid, finish with one coat of 
paint of a finishing coat consistency. 

Remember the roof is subjected to very severe weather 
wear and soon shows defective work. 

THE PAINT. 

The paint for the roof should be of good material. A 
mistake Avhich is often made is that a very cheap mixture 
will do for shingles. 

Have the priming coat thin and enough of it mixed at 
one time to cover the entire roof. 

Keep the paint uniform while working and avoid having 
heavy laps or spots, as they will soon show through the 
second coat and make an ugly looking job. 

The second coat should be of good consistency and be 
well brushed out, using care to keep from applying the 
paint unevenly. 

FOUNDATION AND FLUES. 

Do not paint damp brick. 

Oil paint is the best- size for brick. 

If the flues run from the foundation to the roof on the 
outside of the building and are to be painted a different color 
from the house or given a ground color of Venetian Red, they 
should be painted before the siding is painted, especially the 
first coat, as it is very hard to keep paint from splashing 
over the siding in working on rough brick. 

Where flues are to be penciled and flat brick used, the 
flat color can be very easily applied after the body color has 
been applied. 

Never apply less than three coats on brick. If after the 
second coat has been applied the soft brick show, touch them 
up before applying the finishing coat. This will even up the 
work. 



90 Heath & Milligak Mfg. Co., 

Exterior Painting, New Work, Cautions— Continued. 
THE PAINT. 

The first coat for brick and foundation flues should be 
mixed thin so as to strike into the brick to a good depth and 
form a foundation for subsequent coats. Ten per cent of 
the total amount of thinners used in the priming should be 
turpentine. The second coat should be mixed half flat and 
well brushed over the surface. The third or finishing coat 
should be elastic, of good consistency and applied smoothly 
and evenly. 

WINDOW SASH. 

If the house is to be finished in natural wood on the 
inside, shellac the sash on the inside and prime on the outside. 
Paint the rabbit for the glass so that putty will adhere. 

Before setting the glass, apply a coat of varnish to the 
inside and a coat of paint to the outside of the sash. This 
will save a great deal of time in tracing. 

If the sash is to be black or dark color, give the surface 
a second coat of lead color mixed half flat. Never use black 
or dark sash color on bare wood. 

OUTSIDE BLINDS. 

Outside blinds should be primed before the carpenter 
fits them to the window. This will assist in keeping the 
blinds from swelling. 

Paint for all coats on blinds should be thin and well 
brushed out. Do not allow the paint to be heavy on the rail 
or ends of slats. 

Lay the blinds on a trestle with the stick side up. In 
painting, care must be taken not to get too much paint on 
the ends of slats, otherwise they will stick. 

If the work is to be painted green or any dark color, 
finished with two coats, the best results can be obtained 
by applying a priming coat of OIL PAINT LEAD COLOR. The 
finishing coat must be mixed with raw oil and sufficient dryer 
to set the paint. 

If three coat work, prime with Oil Paint Lead Color, 
second coat with a finishing color mixed with part turpentine. 

Do not paint the ends of the slats or inside rails with 
this coating. This surface should receive but two coats of 
paint. The finishing coat should cover the entire surface and 
should be mixed with raw oil and sufficient dryer to set 
the paint. 



Practical Painting. 91 

Exterior Painting, New Work, Cautions— Continued. 

Brush out well between the slats. 

Never use paint of heavy consistency on blinds. 

When drying, open the slats. Care must be taken never 
to allow the slats to turn down flat when drying, otherwise 
they will stick. 

VERANDA COLUMNS AND RAILS. 
CAUTIONS. 

These should be primed as soon as set, as they are usually 
made of heavy lumber and liable to crack if not primed. 

Do not paint columns and rails unless dry. Paint will 
soon blister or peel on heavy timber if the least dampness 
is present. 

Do not paint over shop or mill priming 1 without thoroughly 
sandpapering or scraping off as much of this paint as possi- 
ble, as it is usually a cheap mixture applied heavy, prevent- 
ing penetration and not fit for priming. It will generally peel 
in a short time after other paint has been applied over it. 

Do not be responsible for paint applied over primers 
other than the ones you applied. 

Do not apply paint heavy on round columns, as very 
little paint is required on a round or convexed surface. If 
applied heavy, it will soon blister, crinkle or peel. Carefully 
guard against an excess of paint on this kind of a surface. 
Use very nearly a dry brush and work the paint out well. 
The same applies to spindles and other turned work. 

Guard against painting the tops of rails and like sur- 
faces which are damp from frosts or dews. 

THE PAINT. 

The paint for veranda columns and rails should be 
reduced in the same manner as for the siding, but requires 
an extra amount of brushing. 

The paint should be well brushed out to insure smooth, 
even coats. 

Knife putty into all cracks and nail holes, using a good, 
hard-drying putty. 

Sandpaper the columns and rails before applying the 
finishing coat, dust off and apply a well brushed coat. 

This work, together with veranda and porch floors, should 
be the last finished on the exterior of the building, as such 
will insure the surface from being scuffed or damaged by 
use.. 



92 Heath & Millkjan Mfg. Co., 

Exterior Painting, New Work, Cautions— Continued. 
VERANDA AND PORCH FLOORS. 

CAUTIONS. 

A heavy coat of paint applied on the tongue and groove 
before laying will more than double the life of the floor 
through keeping out the water. 

Do not apply coats which are too oily. Brush well into 
the surface. Do not have an excess of paint or pigment on 
the surface. Remember the floors have to be walked on, con- 
sequently the paint must dry firm and hard. 

Thoroughly fill all cracks and crevices with paint, then 
brush out. 

Keep the work clean. Do not paint over mud, grease 
or plaster. Do not use old, fatty or skinny paint for floors. 
It will not make satisfactory work, will never dry hard and 
will soon scuff off. 

Do not paint floors immediately after frosts or heavy 
dews. Allow plenty of time for the surface to become dry 
and warm. 

Sufficient turpentine should be used in all coats to assist 
the paint in drying and hardening. More trouble is caused 
from floors not properly drying than from any other condition. 

The finishing coat can not dry solid if undercoats are 
spongy; neither will the paint wear well where the under- 
coats are not thoroughly hard. 

A finishing coat of elastic paint can be applied over a 
flat coat without causing trouble, but a flat or quick-drying 
paint applied over an oil coat will cause cracking or peeling. 

Do not flow paint on floors and expect successful work. 
Two coats will not make a passable job on a porch or veranda 
floor. 

THE PAINT. 

For priming, the paint should be of a thin consistency, 
reduced with a liberal amount of turpentine so as to penetratp 
well into the surface. 

See that the priming coat is thoroughly dry before apply- 
ing subsequent coats. 

Putty all seams, cracks and nail holes with putty which 
will dry hard. 

The second coat for floors over good solid priming should 
be mixed half flat so as to dry hard and firm. 

Enough paint should be left on the surface to fill and 
form a good protecting coat, but should not dry with a gloss 



Practical Painting 93 

Exterior Painting, New Work, Cautions— Continued. 
or tack, as such retards the drying- of the finishing coat. 

The third or finishing coat should be elastic and of good: 
consistency, carrying sufficient turpentine to work free, pene- 
trate into the previous coating and dry hard and firm. Re- 
member that walking has to be done over this coat, there- 
fore it must be brushed out smoothly and evenly so as not 
to leave heavy places which will dry unevenly and soon scuff 
up from usage. 

FENCE. 

Do not neglect the fence. Paint it as well and as neatly 
as the house. 

The pickets, rails and caps should be primed before nail- 
ing up, as this will save a great deal of time and allow of all 
edges to be painted. 

Do not paint the tops of rails or caps when damp from 
rain, dew or frost. 

The paint should be of the same consistency as that 
used on the main building, and if the rails, pickets and caps 
are primed well before nailing up, two coats are usually suf- 
ficient for the fence. 

The fence should receive the same trimming as the 
house. The paint should be of the same material as used 
for the main building and as well and neatly applied as on 
any other part of the work. 



94 Heath & aIilligan Mfg. Co., 

EXTERIOR PAINTING. 
OLD WORK. 
CAUTIONS. 

In repainting an old surface, it is especially important 

that the contractor consult a practical painter. 

Carefully examine the surface to be painted before com- 
mencing the work and determine whether there is any loose 
paint or whether the undercoat is in condition to break loose 
as soon as an elastic coat is applied over it. 

If the building has previously been primed with ochre, 
watch out for spots that have received a heavy coat and are 
ready to break loose. 

Examine the surface for dampness from basements, drain 
pipes, down spouts and wet soil. 

Before starting to paint, see that dampness has not under- 
mined the paint and that the boards do not contain enough 
moisture to cause the paint to break loose as soon as other 
coats are applied over them. 

Look out for loose scales, fine or powdered. They do 
not appear to be dangerous, nevertheless, they will keep the 
paint from adhering solidly to the surface and make it soon 
break away. 

Be careful about mildew, as this condition is always a 
sure sign of dampness, and paint applied over mildew will 
soon spot or peel. 

Examine the surface to see whether the paint of previous 
coatings has shriveled. Paint applied over a shriveled under- 
coating will soon break loose. 

Prepare the paint according to the surface over which 
it is to be applied. 

REPAINTING UNDER NORMAL CONDITIONS. 

"When the surface to be repainted is in good condition 
and not cracked or peeled, thoroughly clean the building free 
from dust, dirt or soot. Wash mildewed spots with turpen- 
tine. It is seldom that one mix of paint will answer for all 
parts of the building. Portions of the house that are the 
most exposed and weather-beaten should receive the most 
elastic coat of paint. Portions that are protected, like under 
porches and verandas, and portions shielded by trees and 
other buildings, which would render them in about the same 
condition as under verandas, should receive a coat of paint 



Practical Tainting. 95 

Exterior Painting, Old Work, Cautions— Continued, 
mixed so as to penetrate the old surface and dry hard and 
tirm without high gloss. If one mix of paint, which will 
satisfy the exposed portion of the building, is applied over 
the entire surface and to the protected or hard parts of the 
building, this oily or elastic coat of paint will dry with a full 
or heavy uioss, retarding the drying of the second or finish- 
ing coat, also causing blistering, checking, cracking and flat- 
ting in a short time. 

FIRST COAT. 

For an exposed or weather-beaten surface, the paint 
should be mixed with 2-3 oil and 1-3 turpentine to assist 
in penetrating the old surface, as well as parts on which 
some paint still remains. It should be applied with a full 
brush to fully satisfy the surface and be well and evenly 
brushed out so as not to have an excess of paint on the sur- 
face where the old paint remains. 

The cornices a'nd protected portions should receive paint 
that is mixed half flat or with enough turpentine to force 
penetration through the old paint, thus firmly binding this 
coat, to the surface and preventing the second or finishing 
coat from crawling. The paint should be applied smoothly 
and evenly and be well brushed in. Do not flow the paint 
on and expect a uniform coat. 

SECOND COAT. 

When the surface is thoroughly hard, putty all cracks, 
seams and nail holes, knifing the putty well in. One mix 
of paint for finishing coat can be applied over the entire 
surface. This will dry uniformly. The paint should be mixed 
to medium heavy and elastic consistency and be well and 
evenly brushed out. 

CRACKED AND PEELED PAINT. 

Owing to the many kinds of cracked and peeled sur- 
faces, as well as the innumerable causes from which they 
come, it is impossible to give definite directions for repaint- 
ing under all of the varied conditions. Judgment must be 
exercised in studying the surface and treating the same ac- 
cording to its needs. 

The following suggestions as to repainting a cracked 
or peeled surface will meet the most common of both found 
in the general run of painting. 



96 Heath & Milligan Mfg. Co., 

Exterior Painting, Old Work, Cautions— Continued. 

The preparation of a surface before painting is one of 
the most important matters to be considered. Properly pre- 
paring the surface will often go a great way in assisting 
to make a successful job of painting over a very badly 
cracked or peeled surface. 

To properly dean a surface, it should be scraped and 
carefully gone over with a wire brush. The kit should con- 
sist of a good scraper and two wire brushes, one stiff and 
coarse, the other fine and soft. On a surface where the 
cracks are small and fine, a soft brush will assist in clean- 
ing the dirt from the cracks and leaving the surface in bet- 
ter condition than will a coarse brush. On a surface with 
large cracks or a peeled surface, a coarse, stiff brush will 
assist in forcing off the scales, also breaking the peeled 
edges that have begun to turn out and are sometimes very 
hard to break loose. 

NOTE.— The amount of turpentine recommended in the 
following reductions is based upon a gallon of hand mixed 
or prepared paint of a full linseed oil reduction. 

A CRACKED SURFACE. 

Where the paint is cracked in small hair lines, it is usu- 
ally called crazing of the paint. Generally these hair lines 
run crosswise of the grain the entire width of the boards 
to which the paint is applied. The paint is invariably very 
hard and this crazing is often attributed to an excess of 
zinc. It is usually caused from an improper reduction or 
combination of pigments which do not dry uniformly, one 
being more easily affected by heat and cold than the others, 
thereby leaving a paint surface which is not uniform as 
to contraction and expansion. This trouble is especially no- 
ticeable on parts of work that have to withstand a great 
deal of vibration. 

If the paint has not been applied too heavy and upon 
examination is found to be perfectly bound to the wood, it 
can be successfully repainted in the following manner: 

A great deal of care should be taken in the preparation 
of the first coat, as the surface is usually hard and brittle. 
If the paint is mixed half flat it will have sufficient turpen- 
tine to penetrate well into the undercoats, and if well 
brushed will thoroughly bind to them. 

The finishing coat should be of good consistency and 
well brushed. It should contain from 1-32 to 1-16 gallon of 
turpentine to a gallon of paint, as the paint should not be 



Fbactical Painting. 97 

Exterioi- Painting, Old Work, Cautions— Continued, 
too elastic, otherwise it is liable to blister on this hard sur- 
face if exposed to heat when fresh. 

Paint found to be cracked only through the top coat, 
the checks not running through to the wood, makes a very 
treacherous surface to repaint, as the first coat applied is 
liable to penetrate only through the hard glaze which has 
already commenced to crack and possibly breaking loose 
from the undercoats, and when a second and more clastic 
coat has been applied this glaze will break loose and cause 
the last coats to peel. The first coat should be mixed with 
r 4 gallon of turpentine to the gallon of paint, so as to pene- 
trate, if possible, the glazy surface to the undercoats which 
are more firm, thereby binding itself as well as the finish- 
ing coat to the surface. The finishing coat should not be 
applied too elastic. This is to avoid having an excess of oil 
on the surface. 

Large and deep cracks, running to the primer or under- 
coats, are usually caused by coats being applied too rapidly, 
not allowing sufficient time for proper hardening, or under- 
coats being mixed heavy with boiled or rosin oil or an excess 
of japan which did not allow the paint to properly harden 
and left the under-surface soft and spongy. Such paint is 
usually tough and elastic and the undercoats are found to 
be spongy and easily affected by hot or humid weather. This 
paint usually shows no signs of peeling, as it is very tough 
and seems to be firmly adhering to the wood, but to re- 
paint the surface requires a great deal of care in keeping 
the new paint from following the first coats and cracking 
in like manner. Be careful not to have an excess of paint 
on the surface, as such will blister and peel. 

Thoroughly clean the surface with a wire brush. Mix 
the first coat of paint fairly elastic or with 1 pint to IV2 
pints of turpentine to a gallon of paint. This will not dry 
too hard and will be sufficiently elastic to withstand con- 
traction and expansion over this treacherous surface, also 
penetrate to a good depth. Brush out well and do not 
attempt to fill the cracks with this coat. The finishing coat 
should be mixed to a good consistency with 1-32 to 1-16 
gallon of turpentine to the gallon of paint and be well 
brushed over the surface. If, however, all of the old paint 
is solid and dried through, a half-elastic coat (14 gallon of 
turpentine to the gallon of paint) can be applied and should 
be well brushed into the cracks. This will dry firm and 
hard and a second coat of elastic paint can be applied over 
it. This, well brushed into the cracks, will to a certain 



98 Heath & Milligan Mix.. Co., 

Exterior Painting, Old Work, Cautions— Continued. 
extent till them and make a very passable job without 
danger of blistering, which would be the result if a first 

coat of very elastic paint had been applied. 

ALLIGATORED PAINT. 

Where the paint is cracked in every direction, forming 
blocks, triangles, and in fact, every conceivable shape, it 
is called alligatoring. This conies from a number of causes, 
but can usually be traced to non-drying- undercoats and 
heavy coats of different mixtures. Ochre or similar slow- 
drying pigments mixed with boiled oil will very often be 
found at the bottom of this trouble. Fatty paint or the 
use of adulterated oil also causes paint to alligator. Such 
paint is usually tough and hard except where it is well 
protected and there the undercoats will be found to be 
tacky and spongy. The only successful way to repaint this 
surface is to burn off the paint. This is a very difficult job, 
as the heat softens up the excess of oil and a gummy, 
sticky mass of paint is the result. This soon gums the 
knife, also forms a cement over the wood, which is very 
hard to remove. This is especially true where successive 
painting has been done, the paint having been mixed with 
boiled oil or an excess of japan added, or where the paint 
has cracked when first applied and paint heavily applied 
over it in an attempt to fill the cracks, leaving the surface 
with an excess of oil paint spread over it. 

To repaint this surface after the paint has been burned, 
follow special instructions for repainting burned work. See 
page 100. If it is not possible to burn the paint off, it can be 
painted with fairly good results if first cleaned with a wire 
brush, breaking the edges of the paint that may have com- 
menced to show signs of peeling and turning out, also remov- 
ing all the dirt from the cracks, then applying a coat of paint 
mixed with from a pint to a quart of turpentine to the 
gallon of paint, according to the elasticity of the surface. 
Do not apply a heavier coat than is absolutely necessary. 
Be particular to brush the paint well. Do not have the 
paint too flat on the protected or more elastic portions of 
the building, as these parts are very easily affected by hot 
or humid weather. Do not attempt to rush the work. 
Allow ample time for the paint to harden, then apply a fin- 
ishing coat of paint mixed to a good consistency reduced 
with 1-32 to 1-16 gallon turpentine to a gallon of paint. 
Brush out well. This will not blister nor pull the under- 
coats loose and will make a fairly satisfactory job. 



Practical Painting. 99 

Exterior Painting, Old Work, Cautions— Continued. 
PEELED PAINT. 

In preparing tlio surface for the repainting of peeled 
work, the same tare should be exercised as with cracked 
paint. Where the paint has commenced to peel in small 
chips and upon examination it is found that the trouble is 
with the last or finishing coat, such is called chipping or 
fluffing. The trouble can usually be traced to the Impropei 
application of the paint or its having been applied over 
dampness caused by dews or frosts, also the paint becom- 
ing chilled or applied in freezing weather, not allowing 
sufficient penetration, which caused it to soon chip or fluff 
off. This trouble can very easily be overcome by scraping 
or going over the building with a wire brush and coarse 
sandpaper, removing all the loose paint and then applying 
one coat of paint of good consistency mixed elastic with 
V 3 gallon turpentine to the gallon of paint. This mixture 
will thoroughly penetrate and bind to the undercoats, gen- 
erally making very satisfactory work. 

If the paint is peeling in small thin scales and the 
trouble only goes as far as the priming, it usually will be 
found upon examination that this coat was of material 
like yellow ochre which has been applied heavy and dried 
with a gloss, the second coat not reduced with a sufficient 
amount of turpentine to penetrate the hard surface. To 
repaint this surface, the scales and loose paint should be 
scraped and brushed off and a coat of paint, mixed with 
sufficient turpentine to penetrate the priming coat, applied 
over the spots where the paint has peeled; then apply a well 
brushed finishing coat over the entire building. This should 
not be too oily or elastic, otherwise it will break loose from 
the undercoats, but it. should carry from 1-32 to 1-16 gal- 
lon turpentine to assist in brushing and penetrating the old 
surface. 

Where the paint is peeling in patches, exposing the 
bare wood, and it is found upon examination that the backs 
of the scales have a heavy coat of ochre or some other dry 
pigment which is absorbing the oil from the wood, and the 
paint has not been applied uniformly and is breaking away 
in spots, these places can be scraped and thoroughly 
brushed, then a coat of paint mixed with a percentage of 
turpentine to assist in penetration applied over these spots. 
One coat of paint can then be applied over the entire build- 
ing, if the surface is in fair condition, and the undercoats 
have not heen applied too heavily. However, if the build- 

L, OF C. 



100 Heath & Milligan Mfg. I <>... 

Exterior Painting, Old Work. Cautions— Continued. 
inu" has beeD standing and one coal is not sufficient, the 
tiist coat Should be mixed bait' flat so as not- to leave an 
excess of oily paint on the surface. This will even up the 
work and an elastic finishing coat can then he applied over 
the entire building. 

When a building has been painted a number of times 
and the surface is peeling to the hare wood, the only sat- 
isfactory way to repaint this is to burn the surface to the 
wood, following* special instructions given for burned sur- 
face. 

Where the paint has peeled in spots from dampness, 
caused either by wet basements or plaster, the surface can 
be successfully repainted after the house has been allowed 
to dry out, by cleaning it and touching up the spots where 
the paint has peeled, then covering with one coat of paint. 
This will even up the surface and avoid repainting the 
entire building if only part of the house is peeling. 

INSTRUCTIONS FOR REPAINTING OVER A SURFACE 
ON WHICH THE PAINT HAS BEEN BURNED. 

Where paint is peeling or cracking badly, the only sat. 
isfactory way is to burn the paint to the bare wood. This 
leaves all of the surface practically new, and if the char- 
acter of the w r ork is understood good results can be accom- 
plished, but it must be borne in mind that all paints when 
burned do not leave surfaces in the same condition and the 
resulting character of each must be understood before 
mixing the priming coat. Where an excess of boiled oil 
has been used in successive repainting and the work has 
commenced to crack or alligator, it will be found very hard 
to get the work in good condition, as the oil will set on the 
surface and form a glaze which is very hard to penetrate; 
likewise where fatty oil or paint with a percentage of gloss 
or rosin oil has been used. While the heat of the burning 
lamp softens the oil and paint, it is very hard to remove 
all of it from the surface. 

To repaint this surface, care should he exercised in 
thoroughly sandpapering and scraping or breaking this 
glaze where it is possible and a liberal amount of turpen- 
tine should be mixed with the first coat to force penetra- 
tion through this hard surface. Where dry ochre or similar 
primer has been used, causing the paint to peel from its 
not having penetrated the surface, only a small proportion 
of oil having gone into the wood, it is very easy to remove 



Practical Painting. 101 

Exterior Painting, Old Work, Cautions— Continued, 
with a burning- lamp. leaving a surface which is practically 
new, as most of the oil will have been drawn from the wood 
during the process of burning. This surface can then be 
treated the same as any new wood, with possibly the ex- 
ception of some protected parts where the oil lias pene- 
trated to a greater depth and the paint is in better condi- 
tion than on exposed parts. The cause ot blistered and 
peeled work can often be traced to too elastic a coaling 
of paint having been applied over a burned surface. This 
is especially true Avhere boiled or heavy oil has been used 
in the primer of the paint which was burned. Boiled oil 
should never be used in a paint applied over a burned sur- 
face—it will not penetrate but will lay on the surface and 
will soon crack, blister and peel. These troubles are often 
laid to dampness or the paint used, or some defect in the 
building which supposedly did not allow the paint to prop- 
erly harden, while the true cause is from the paint not 
having been properly reduced or applied over the surface. 

BLISTERING. 

When paint blisters, the cause is usually attributed to 
dampness, and it is perhaps true that more trouble of this 
character on new buildings can be traced to wet or un- 
seasoned lumber, fresh plastering, etc., than to any other 
cause, and on old buildings to bad roofs, leaky gutters, 
broken down spouts and wet basements. There are so 
many chances for dampness to get under the paint of either 
new or old buildings that it naturally follows there would 
be more blisters from this cause than from all others. 

As to buildings being in the foregoing condition, the 
weather before and during the time the paint is applied 
has much to do with it. 

Dampness causing blistering of paint is more easily de- 
tected than any other condition. This is especially true 
where the dampness comes from wet plastering, as the 
blisters will be full of discolored water which stains the 
paint when they break, and upon removing the paint over 
the blisters it will be found that there is very little, if any, 
paint or oil left in the grain of the wood. When examin- 
ing surfaces where the water or dampness is not percept- 
ible at the time of the examination, it is safe to assume, 
without fear of an error in judgment, that dampness has 
been the cause of the trouble; but there are also many other 
causes for paint blistering which are often laid to the fore- 
going. 



102 Heath & Milligan Mfg. Co., 

Exterior Painting, < >M Work, Cautions— Continued. 
On new work, fat oil or paint will cause blistering, 
leaving' a sticky substance in the wood. Fatty and non- 
drying oils, like paraffine, paint oils, etc., will cause the 
paint to blister in spots, leaving the surface greasy or oily. 
Where linseed oil has been used from the bottom of a tank 
and the settlings or foots are mixed with the paint, it will 
cause blistering. This has the appearance of dampness, 
there being spots where the paint has not penetrated and 
the surface is almost bare. This paint will sometimes pull 
away in large blisters, the underneath of which show that 
the paint has adhered to the surface but contained some- 
thing- which would not allow of solid drying. This trouble 
can be attributed to non-drying mucilaginous matter which 
separated from the linseed oil and did not allow of uniform 
penetration, binding or drying. Such blisters are invariably 
oblong and follow the grain of the wood. , 

Xew linseed oil will often cause the paint to blubber in 
very warm weather, these blubbers causing small blisters; 
this is attributed to the moisture in the oil which the heat 
draws out in the shape of different sized blubbers, breaking 
and forming small blisters when the paint is dry- 
Paint mixed with rosin oil will blister under extreme 
heat. Paint applied over old work blisters more often from 
the application of excessive oil coats than from any other 
cause outside of dampness. As stated before, dampness is 
easily traced in. either eld or new work. Numerous coats 
of oil paint wifl often blister very soon after the paint has 
been applied. The back of these blisters will show that the 
paint has at one time been dry and wasi hard enough to hold 
to the surface, but when paint was applied over it, it could 
not stand the tension or pull of the other coats. This is 
caused by numerous coats of oil paint which do not thor- 
oughly cement together and form a solid foundation. This 
can be proven by the backs of the blisters which often 
have glossy spots that would not show had the coats of 
paint thoroughly cemented or adhered. Other parts of the 
blisters show gummy points, proving the paint had once 
been cemented together in spots. This also shows that the 
paint was over-elastic and had pulled away from the surface 
by the heat which broke the coats apart. This latter 
trouble is sometimes called a splitting of the paint. An 
excess of oil on a hard surface like ochre priming, where 
there has not been sufficient penetration, will cause the paint 
to blister on protected parts of the building, such as under- 
neath porches, etc. This trouble is very hard to understand, 



Practical Painting. 103 

Exterior Painting, Old Work, Cautions— Continued. 
but the true cause is excessive heat on a porch or veranda 
floor, reflecting on the sides of the building-, causing blister- 
ing or the raising- up and breaking loose of the paint from 
the under-surface; this is especially true where the sun 
reaches porches and verandas which have an enclosed end, 
preventing free circulation of air and causing intense heat 
Blistering sometimes takes place from excessive j mint- 
ing on the sides of buildings where the sun does not reach. 
This is caused by radiation of the heat, which is very intense 
at certain times of the day, and no free circulation of air, 
also from stone or cement walks which become very hot 
from the rays of the sun, radiating this heat and blistering 
the paint for some distance above these walks. Freshly 
painted veranda floors will reflect enough heat on the side 
of a building to cause the paint to blister and break away. 
Veranda ceilings will sometimes blister. The cause can be 
traced to water which has been thrown on the floor or to 
pools of rain water which reflect the heat of the sun on the 
ceiling, forming a lense the same as would a convex glass 
if laid in the same position. This reflection will cause the 
paint to blister on ceilings and the trouble is often misat- 
tributed to leaky roofs, gutters or like causes. 

BLISTERING OVER OCHRE. 

If a coat of oil paint is applied over a heavy coat of 
ochre priming which has dried hard and flinty, it will often 
cause it to blister badly when exposed to the heat of the 
sun. This result is due tc the paint not penetrating into the 
hard surface, thus leaving an excess of oil on the ochre 
coat. Where ochre is mixed dry with oil, it is impossible 
to thoroughly incorporate the two, and when applied will 
sometimes raise up in small blisters: the under part will be 
found dry and the paint can be powdered. This is caused 
by the dry ochre lying on the surface, absorbing all of the 
oil and leaving nothing to satisfy the wood, consequently, 
the heat of the sun will soon pull it away. This is more 
noticeable after another coat of paint has been applied over 
the priming. 

To successfully repaint blistered work, the character of 
each kind of blister must be understood; study the cause of 
the trouble and repaint the surface accordingly. If water 
or dampness is the cause, the paint for retouching should 
be mixed with a full oil reduction to satisfy the bare wood; 
if from fat oil, it must be mixed with sufficient turpentine 



104 Heath & Milligan Mfg. Co., 

Exterior Painting, Old Work, Cautions— Continued, 
to penetrate the surface which this oil leaves: it from fatty 
or non-drying oil. the surface must be rirst washed with 
turpentine to remove the grease, then touched up with paint 
mixed with part turpentine to assist in penetrating to a 
good depth. 

For ochres and like surfaces, the same directions apply 
for touching up as for a peeled surface. On old work where 
the paint has blistered from an excess of oil, retouch with 
paint mixed half flat. This will penetrate through the old 
paint and give a good foundation. After the work on the 
foregoing has been touched up, the entire building can be 
given a coat of paint: this will even up fairly well, but the 
spots caused by the blisters will show to a certain extent. 

ROOF. 

Do not paint damp shingles. Allow time for rain, dew or 
frost to dry off and the roof to become thoroughly dry- 
Sweep the roof with a good broom and remove all dirt, lint, 
cinders and soot. 

The mix of paint depends upon the condition of the 
roof. Use good material reduced with raw linseed oil in 
painting shingled roofs. 

On old shingles apply a uniform coat of paint mixed 
to the consistency of stain. It is necessary to have the 
paint of a very thin consistency to fully satisfy the old 
weather-beaten shingles. When thoroughly dry, apply a fin- 
ishing coat of heavier consistency, well worked into the 
cracks. 

If the roof has been previously painted or the shingles 
dipped before laying, and are in a fair condition, the paint 
can be used of heavier consistency and one coat is usually 
sufficient to do a satisfactory job on this surface. 

It is sometimes claimed that a roof has faded or spotted 
out in a comparatively short time. This is more often the 
case where combination pigments which go to make up 
Greens or Olives have been used. In the majority of cases 
such complaints can be traced to the color not fading, but 
the oil having been absorbed by the shingles, these not hav- 
ing been fully satisfied by the undercoat reductions. A little 
oil rubbed over the surface will demonstrate that the full 
color is there but has flatted out through having been robbed 
of the oil required to bring out the original shade or bril- 
liancy. 



Practical Painting. 105 

Exterior Painting, Old Work, Cautions— Continued. 
FOUNDATION AND FLUES. 

Foundations or flues which have never been painted 
should be treated the same as new work. Where founda- 
tions or flues have been kept painted, with oil paint, one coat 
of similar color mixed to a good consistency is usually suffi- 
cient. This should be applied after the house has been 
finished. If previously finished in flat color and is to be 
painted again in the same manner, one oil paint coat of good 
consistency and one coat of flat color should be applied. 

WINDOW SASH. 

Break sashes loose so they can be worked without 
trouble. Scrape off all loose paint and putty, then sandpaper. 
If the putty is soft or broken away, it is best to remove all 
and not attempt to patch up broken places. Apply a heavy 
coat of paint in the groove where the putty has been re- 
moved. The same paint used for trimming or body color 
is often used for this coat, but should usually be of a heavier 
consistency and requires a different mix; however, where 
blacks or reds are used, it is a good idea to have a ground 
work of dark lead color for black and terra cotta for reds. 
If the sash is in good condition, not badly weather-beaten, 
the paint should be mixed half flat and a finishing coat of 
black or red varnish color applied. Before applying this 
finishing coat, reputty the sash where necessary. If the 
putty is to be painted, it is best to reputty some days before 
tracing, so it Avill become set. 

OUTSIDE BLINDS. 

Remove blinds from the building and examine the slats 
to see whether they will work. If stuck together from pre- 
vious painting, they are sometimes very difficult to break 
loose and require a great deal of patience to keep them from 
breaking. Use a sharp knife and cut in between the slats, 
also at the ends. Break one slat loose at a time. As soon 
as broken loose, cut or scrape the old paint from the edges 
of rails, also ends of slats, and break the paint from around 
the staples on stick so they will work freely. Sandpaper 
exposed parts and dust off thoroughly. If the blinds have 
been dosed and the inside is in good condition, they will 
require only one coat of paint on this part. Exposed and 



106 Heath & Mulligan Mfg. Co., 

Exterior Painting, Old Work, Cautions— Continued. 

weather-beaten part* should receive the first coat of paint 
of medium consistency mixed with 2-3 oil and 1-3 turpentine, 
well brushd out. The ends of slats and inside of frame work 
do not need this coat. Alter the first coat has become hard 
dry, the blinds should receive a coat of paint all over. The 
paint should be of good consistency and be well brushed out 
so as not to have an excess of paint, causing the slats to 
work hard. Leave the slats open until the paint is dry. If 
closed, they are very apt to stick. 

VERANDA COLUMNS AND RAILS. 

Be sure that the surface is dry. Scrape and sandpaper 
loose paint from veranda columns and rails before first coat- 
ing. Fill the cracks and nail holes with paint. See that 
there is no mildew on the base, skirting boards or lattice 
work caused by dampness underneath the porches and ve- 
randas. Knife putty into cracks and nail holes before apply- 
ing finishing coat. Use the same paint as for the building, 
well brushed out on the round columns and turned work. 

VERANDA AND PORCH FLOORS. 

Sweep the floor clean, also remove dirt from cracks so 
that the paint can be brushed into them. Paint applied too 
heavily on floors will not dry solid and will soon scuff up. 
Be sure there is no dampness coming from underneath, as 
such will cause the paint to blister or peel and not allow 
of proper hardening. It is very hard to avoid blistering in 
the repainting of floors that have been kept oiled. First 
wash the floor with turpentine and wipe off dry, then apply 
a thin coat of paint mixed half flat. Allow ample time for 
the paint to harden, then apply the finishing coat mixed 
with 2-3 oil and 1-3' turpentine, well brushed out. 

On old floors that have been kept well painted, one coat 
is often sufficient. Where they are badly weather-beaten 
they should receive a coat of paint of good consistency mixed 
with 2-3 oil and 1-3 turpentine. When hard dry, putty the 
cracks, nail holes and seams, then apply a coat of paint of 
heavier consistency mixed with the same proportions of oil 
and turpentine. The floors and steps should not receive the 
finishing coat until all of the other painting has been com- 
pleted. 



Practical Painting. 10T 

Exterior Painting, Old Work, Cautions— Continued. 

FENCE. 

The fence should receive the same care as to preparing 
the work for painting as the building. Sweep and dust the 
work thoroughly before painting. The same mixture of paint 
should be used on the fence as on the house and the fence 
trimmed with the same color. 

OLD WORK-ONE COAT. 

Where the paint has stood for two or three years ai¥l 
one coat is to be given over a shade similar to the one 
already on the building, the surface should be thoroughly 
cleaned with a wire brush or broom, then thoroughly dusted. 
It is sometimes necessary to wash the surface with sponge 
and water to remove the smoke and dirt, which otherwise 
will work up through the paint, changing the color and 
making un-uniform shades. It is almost impossible to brush 
dirt streaks out and the only way to get the work in condi- 
tion for painting is to first wash the surface with water. 
Allow time for the surface to dry; then, if the wear of the 
paint is found to be uniform, one coat mixed to a good con- 
sistency with a full oil reduction and sufficient turpentine 
to assist the working will make a satisfactory job. It, how- 
ever, upon examination the paint is found to be weather- 
beaten or wearing off in spots on the exposed parts, the 
building will have to be touched up on these exposed por- 
tions and a coat of paint applied to the entire surface to 
even it up; otherwise it will be spotted when the paint has 
dried out, making an unsatisfactory job. 

If the paint has not worn down to the wood and is only 
worn off to the undercoats which are solid, mix the paint 
with half turpentine and half oil, go over the exposed por- 
tions of the building with a smooth, even coat, and as soon 
as hard dry give the entire surface a coat of paint mixed 
to a good heavy consistency, as before directed. The paint 
should dry out even, thus making satisfactory work. 

As all portions of a building do not have uniform expos- 
ure, it is very hard to find a surface where one coat will 
produce satisfactory work over the entire building. On the 
most severely exposed parts of a building, the paint will 
naturally shov\ more wear than on the protected parts and 
these exposed parts will need to be touched up or painted 
over to even them up with the less exposed portions. 



108 Heath & Muxigan Mfg. Co., 

PAINTING GALVANIZED IRON. 

Galvanized iron is without question the most treacherous 
surface with which the painter has to contend and unless 
the nature of the surface is understood and judgment exer- 
cised in the application as well as the selection of materials 
to be used, satisfactory results can not be expected. There 
are no specific instructions which can be given that will in- 
sure absolutely satisfactory results in the use of paint over 
galvanized iron, but there are a number of precautions 
which, if taken, together with judgment in the application, 
will produce much more satisfactory results than if neglected. 
In the choosing of the priming coat for galvanized iron, one 
must be selected which will dry principally by oxidation, as 
there is no chance for penetration on this surface. Galvan- 
ized iron which has been allowed to stand for some length of 
time, and especially if it has been exposed to several hard 
rains, is much more satisfactory to paint than if painted as 
soon as erected. 

Before painting galvanized iron, take a stiff steel-wire 
brush and go over the entire surface, roughing up or break- 
ing the hard glaze of the surface and especially roughing up 
the joints which have been soldered. This will give a better 
binding surface for the priming coat. A mineral paint ground 
in pure linseed oil, properly reduced with a liberal amount 
of turpentine, makes a satisfactory primer for galvanized 
iron when treated as noted; but the most satisfactory prim- 
ing for galvanized iron is a coat of Red Lead. This should 
be mixed thin, be well brushed out and allowed to thor- 
oughly harden before finishing coats are applied. Red Lead 
of itself is a natural dryer and will oxidize on the surface. 
The Red Lead must be REDUCED TO A THIN PAINTING 
CONSISTENCY AND BE WELL BRUSHED OUT. A satisfac- 
tory reduction is at the rate of 33 lbs. of dry Red Lead to 
one gallon of boiled oil and one quart of turpentine. If in 
the opinion of the one who applies the material, further re- 
duction should be necessary, it should be made by the ad- 
dition of more turpentine. The use of dry Red Lead is one 
of the few exceptions to the rule "that a dry pigment mixed 
with boiled oil should never be used as a primer.'* 

If the Red Lead is pure and of fine structure, as satis- 
factory a mixture can be obtained from its use dry as would 
be obtained from the product ground in oil. Mix only the 
required amount for immediate use. Pure Red Lead and 
linseed oil can not be kept as a stock mixture, as the lead 
will harden or set in a very short time. Figure out the 



Practical Painting. 109 

Painting Galvanized Iron— Continued, 
amount necessary for the work on band, thoroughly mix the 
dry Red Lead with % of the oil the day before the mixture 
is to be used. This will give a more thorough incorporation 
between pigment and vehicle. The next morning add the 
balance of the thinners, thoroughly stirring. This mixture 
must be kept well stirred when in use to insure a uniform coating. 

To ascertain the cost of a Red Lead mixture, the liquid 
yield of 33 lbs. dry Red Lead can be safely figured at 7-16 of 
a gallon increase over the amount of liquid used. One 
gallon of this mixture will cover approximately 800 square 
feet of plain painting on galvanized iron, one coat. 

When this Red Lead priming coat is thoroughly dry, it 
should be treated with paint handled and reduced in the 
same manner as is recommended for second and finishing 
coats for three coat work of any description. UNDER NO 
CIRCUMSTANCES SHOULD A LEAD OR ZINC PAINT BE AP- 
PLIED TO A BARE GALVANIZED IRON SURFACE. Satis- 
factory results can not be expected from their use. 

TO REPAINT A GALVANIZED IRON SURFACE. 

Care should be exercised in never applying more paint 
to a galvanized iron surface than is necessary to hide and 
protect the surface. The primer is a surface coating only and 
will in time break away if repeated coats of oil paint are 
applied over it. This is caused by the natural pull or tension 
of elastic coats under contraction and expansion. 

To repaint galvanized iron, note the character of the 
primer first applied ; if well bound to the surface, clean thor- 
oughly, and if to be painted a similar or darker color, apply 
but one coat. This should carry sufficient turpentine to pen- 
etrate into and bind well to the old coating. It should be 
well brushed and not heavily applied. 

If two coats are necessary, the first coat should be mixed 
half flat and the finishing coat should carry a small amount 
of turpentine. Full oil reductions should never be used on 
a galvanized iron surface, as such will cause blistering under 
extreme heat. 

If the surface is checked or cracked, go over it with a 
stiff wire brush and scraper, removing any loose particles 
of paint and thoroughly cleaning the surface. Touch up any 
bare spots with Red Lead Paint. This will even up the sur- 
face and it can then be finished with one coat of paint which 
should not be mixed too elastic. 

If the paint is peeling or is not properly bound to the 
surface, scrape thoroughly and clean with a wire brush to the 
bare iron; then rough up the surface and proceed as for new work. 



110 Heath & Mulligan Mfg. Co.. 

STORE FRONTS. 

NEW WORK. 

Do not use cheap ground ochres or Venetian Red to pro- 
duce tints or ground work. They will cause paint applied 
over them to blister and varnish to curl and flake. 

For work that is to be varnished, do not use colors 
ground in oil for the solid ground color; even though reduced 
with turpentine and dry apparently flat, they still contain 
too much oil as a satisfactory ground for japan color or to 
allow of varnishing over them with safety. 

For application over the lead coats, use colors ground in 
japan for deep ground colors or tints which require a large 
percentage of coloring matter. 

Xew store fronts, vestibules, etc., which are built of soft 
wood and are to be painted in oil, should receive a priming 
or first coat mixed with 2-3 oil and 1-3 turpentine. Allow 
ample time for thorough drying. Putty and sandpaper. The 
second ccat should be mixed with half turpentine and half 
oil to a good consistency. When hard dry, sandpaper lightly 
and apply a coat of oil paint. This will not blister, provided 
the wood does not get wet from the sweating of glass or 
like causes. 

If the fronts are to be painted and varnished, they 
should receive a priming coat mixed with half turpentine 
and half oil. When hard dry, putty and sandpaper and apply 
a coat mixed with 2-3 turpentine and 1-3 oil. The paint 
should be tinted to approach the shade of the ground work. 
When hard, sandpaper lightly and apply a flat coat of ground 
color. Rub this coat smooth with fine steel wool and apply 
one or two coats of color ground in japan according to the 
strength of the color. All that is necessary is sufficient japan 
color to make a solid coat. Stripe and ornament according 
to specifications, then finish with a coat of exterior varnish. 
Tf more expensive work is desired, a coat of color varnish 
can be applied over the japan color. This color varnish can 
be made by adding a small percentage of the japan color to 
the rubbing varnish. When hard, rub smooth with fine steel 
wool or curled hair. Stripe or ornament as desired, then 
finish with a coat of elastic varnish. 

If the finish is to be black or green, the undercoats 
should be dark lead color; if wine, dark terra cotta or dark 
red; if vermilion, dark yellow for light or terra cotta for 
dark, and vermilion for carmine or lakes where a deep effect 
is desired. 



Practical Painting. Ill 

Store Fronts — Continued. 
OLD WORK. 

When store fronts and vestibules are to be painted in 
oil and are in good condition, showing no cracks or signs of 
peeling, they should be sandpapered smooth. If two coats 
are to be applied, the first should be reduced with half tur- 
pentine. Over this apply an oil paint. It should be borne in 
mind, however, that too much oil must not be used, especially 
where the fronts are exposed to the hot sun. 

When store fronts and vestibules are to be repainted and 
varnished and the old paint has stood for two or three years 
and is in good condition, the surface not having received too 
numerous coats, they can sometimes be sandpapered smooth 
and a coat of flat ground color applied, then a coat of color 
in japan. Stripe and ornament, then finish with a coat of ex* 
terior varnish. 

When the fronts have been repainted a number of times 
with oil paint, they will not stand sun exposure after re- 
ceiving the varnish, without danger of blistering. In such 
cases the paint should be burned off or removed with a paint 
remover. The surface is then practically new and the work 
can proceed as with new work, with the exception of the 
priming or first coat, which should contain a larger percent- 
age of turpentine to assist in penetrating through any old 
paint left on the wood. Then proceed as with new work, 
building up the surface in the same manner by using flat 
ground colors and color ground in japan and exterior varnish. 

IRON STORE FRONTS. 

Thoroughly clean the surface. If the work has been 
covered with a shop coat, scrape and thoroughly sandpaper 
before applying the paint. 

In painting an iron store front in oil or flat color and var- 
nish, the treatment should be the same as for a wooden front, 
with the exception of the first coat. The surface being non- 
absorbent, the first coat must be mixed so as to dry firm and 
hard by oxidation and evaporation. If to be finished in oil 
paint of a light tint with a lead or zinc base, the first coat 
should be reduced with 1-3 oil and 2-3 turpentine. If a solid 
oil color is to be used, such as black, red, etc., reduce with tur- 
pentine and a small proportion of japan to assist in hardening. 
Allow ample time for thorough oxidation. Finish with one 
coat of oil paint. If to be painted and varnished, the first 
coat should be mixed with % turpentine and % oil, tinted 
to approximate the shade of the ground color to be used. 
When hard dry, sandpaper and proceed with a flat coat of 
ground color as for a wooden surface. 



112 Heath & Milligax Mfg. Co., 

INTERIOR FINISH— NEW WORK, PROTECTION AND PREP- 
ARATION OF THE SURFACE. 

The protection and preparation of the surface should 
be the first considerations and should be as carefully planned 
and carried out for plain painting, staining, varnishing or 
natural finishing as for more expensive work, as these are 
often the foundations for a better class of future finishing. 

Inside door frames should not be set until after the 
plastering has been completed, then put in with the other 
finish, otherwise the mortar will stain the wood badly and 
these stains can not be removed without a great deal of 
trouble. In fact, frames are often ruined by mortar stains 
and bruises from plasterers moving their scaffolding. These 
bruises and stains especially ruin the work when it is to 
have a natural stain or finish. 

If the frames are set, they should be protected before 
the plasterer commences work. If the work is to have a 
natural finish and the frames are hard wood, they should 
first be filled with paste filler, then a coat of shellac or 
liquid filler applied. If the frames are soft wood and are 
to be stained, they should be given a coat of oil stain; if to 
be painted, they should be primed. If water or spirit stains 
are used, cover with a coat of shellac or liquid filler, other- 
wise the lime water in the plaster will change the color 
of water stains. A strip should be tacked to the face of 
the frames to protect them from being bruised or scuffed 
up during the plastering. 

Floors which are to be finished natural or stained should 
not be laid until after the plastering is done. Floors should 
be the last work of the carpenter as well as the painter. 
This requires laying an extra floor. On the best and more 
expensive buildings this is looked after by the architect 
in his specifications. However, there are a number of build- 
ings in which the floors are laid before the plasterer com- 
mences his work, and as these are to be finished either nat- 
ural, stained or painted, they should be protected from plas- 
tering. 

As 'soon as the carpenter has finished sandpapering and 
dressing down the floors, they should be carefully swept 
and dusted off. The cracks should be filled with either a 
good linseed oil putty mixed with 1-3 keg lead, or a good 
crack and crevice filler, which is not so likely to be affected 
by shrinkage of the floors as is putty. 

If hard, open -grained wood, the floors should first re- 



Practical Painting. 113 

Interior Finish, New Work, Protection and Preparation of the 

Surface— Continued. 
ceive a coat of paste filler, then a light coat of shellac or 
floor finish. 

If the floors are soft or hard pine and to be finished 
natural, they should receive a coat of shellac or liquid filler 
of good quality, applied thin. If to be stained, they should 
receive a coat of oil stain. 

When dry, cover the floors with heavy building paper 
or plain carpet lining, tacked down solidly. Sprinkle dry 
sand around the walls to keep the mortar from soaking into 
the paper. Allow this covering to remain on the floors until 
after the painting or finishing is done on the other parts 
of the room. The floors should be finished last. 

Before the carpenter turns the work over to the painter, 
he should remove from the rooms all blocks, shavings, etc., 
and turn as much of the building over to the painter at one 
time as is possible. 

The painter should sweep the room clean and thor- 
oughly dust off the work before commencing to paint, stain 
or varnish. 

Putty nail holes, joints, etc., with good putty, one which 
will not soften with age or turn yellow if white or light 
tints are applied over it. 

If the work is to be painted, soft pine doors and casings 
should first receive a coat of size to keep tnem from spot- 
ting. This should be a shellac size if the work will permit. 
Good liquid filler is often used with good results by reducing 
to a thin consistency and applying a smooth, even coat. 
Hard drying varnishes, such as Copal and Hard Oil Finishes, 
are successfully used by applying them thin. Glue size 
can also be used if applied hot and very thin. It should not 
be allowed to get cold, as it will not strike into the wood 
but remain on the surface and is liable to break away. It 
is very hard for ordinary dampness to affect glue size after 
it has been properly applied and covered with paint or 
varnish. Where the price of work will net permit of sizing 
or the specifications do not call for it, satisfactory work can 
be done by mixing varnish with the priming coat. Varnish 
and turpentine will, to a certain extent, keep the work from 
spotting. 

The paint for interior work should be mixed with a 
large percentage of turpentine. Oil will turn the work yel- 
low. If white work, such as flat white, white enamel, etc, 
is to be done, it is absolutely necessary that the priming 
coat should be mixed with turpentine, otherwise the work 
will yellow in a very short time, especially where sizing has 



114 Heath & Milligan Mfg. Co., 

Interior Finish, New Work, Protection and Preparation of the 

Surface— Continued. 

not been used. An exa ss of oil will also cause the work 
to crack and cheek badly. Too much oil can not be used 
for interior work with safety. Where the work is to be 
finished with oil paints, more oil can be used in the prim- 
ing. It should be borne in mind., however, that interior 
work should always dry hard and firm to insure good re- 
sults from its present painting, also to allow of satisfac- 
torily repainting. 

In giving these directions for the different classes of 
work, the one principal object has been to caution against 
the application of too numerous coats. It is not the amount 
of paint applied to a surface which produces the results — it 
is the manner of application, the proper mixing of the paint 
and the preparation of the surface. In enameled or grained 
work it is especially true that where too numerous coats of 
ground work are applied, it is very hard to repaint such a 
surface if at any time a different class of work should be 
desired. 

Throughout the directions for undercoats on all classes 
of work it will be found, that varnish is specified in place 
of oil and japan. This gives the most satisfactory under- 
coat surface that can possibly be made, especially if a good 
grade of varnish is used. The work will remain in good 
condition for an indefinite length of time; it will not crack 
or check; the grain of the wood will be thoroughly filled 
and with this method of reducing the paint, the number 
of coats to produce satisfactory work can be cut down. 

Mixtures of japan and oil for undercoats are not always 
satisfactory for interior work. Too much oil makes spongy 
work which is liable to crack and check badly. Heavy mix- 
tures of oil and japan will do likewise. 

The directions given are not new but have been tried 
out in the most practical ways and have always proved 
entirely satisfactory. 

Sandpaper or smooth the surface with fine steel wool 
and dust off thoroughly before applying the paint. 

^Vhere paint, enamel or varnish are retarded in their 
drying by weather conditions or other causes, the work can 
be assisted in drying and hardening by sandpapering or 
mossing off, killing the gloss and allowing it to be exposed 
to a free circulation of air. This will harden work in a few 
hours as much as if allowed to stand for a considerable 
length of time. 

Cheap paint should not be used for inside work any 
more than on the exterior of the building, if good results 



Practical Painting. 115 

Interior Finish, New Work, Protection and Preparation <>f the 

Surface— Continued. 

are to be expected. It is a mistake to use cheap ochre Cor 
priming-. The same paint, or something as good, should 
be used for priming or first coat as is used for the finishing 
coats or for building up the ground work for enameling, 
graining and like work. 

OIL PAINT. 
IN WHITE. 

Where two coat oil paint work is specified, without siz- 
ing, the first coat should be reduced with half turpentine 
and half oil to a good consistency, then a half pint of good 
hard drying or enamel varnish added. This will dry hard 
and will not spot as badly on soft pine wood as a turpentine 
oil reduction. After it is hard dry, putty crevices and nail 
holes with good putty, one which will not turn yellow; or 
the puttying can be done before the priming coat is applied. 
Should there be holes that are not properly filled, they can 
be reputtied over the first or priming coat. Sandpaper or 
rub with fine steel wool to a smooth, even surface, dust off 
and apply a second coat mixed to a good, heavy consist- 
ency with half oil and half turpentine, or 1-3 good hard 
drying varnish, 1-3 oil and 1-3 turpentine. Either mix will 
dry with a good gloss and can be washed. Do not use Demar 
Varnish. 

For three coat work the primer should be mixed as 
before stated, the second coat mixed with three parts tur- 
pentine and one part oil or hard drying varnish. This will 
dry with an eggshell gloss. Sandpaper or rut) with fine 
steel wool to a smooth, even coat and apply the finishing 
coat of medium consistency, mixed with half turpentine 
and half oil, or 1-3 each turpentine, oil and varnish. This 
should dry with a good gloss and can be scrubbed. This 
work, however, will turn yellow with age, as will enamel 
if applied over it. 

GLOSS WORK. 
WHITE. 

Satisfactory two coat gloss work can not be done on- 
bare wood. If the work is not filled or sized, the primer 
should be mixed to a thin consistency with % turpentine 
and % hard drying or enamel varnish. The second coat 
should be of the same mixture but of heavier consistency. 
If for a sized or filled surface, the first coat should be of 



116 Heath & Mulligan Mfg. Co., 

Interior Finish, New Work, Protection and Preparation of the 

Surface— Continued. 

the same consistency and mixture as for second coat over 
bare wood. This will dry flat. Sandpaper or rub with fine 
steel wool to a smooth, even coat. 

If the work is to be finished in lead, use 1-3 of the 
second coat flat mixture and 2-3 hard drying or enamel 
varnish. If a white finish is desired, zinc in place of lead 
should be used. For zinc finish, prime with lead reduced as 
before stated. Second coat with zinc in Damar reduced with 
turpentine. Sandpaper between coats and finish with 1-3 
second-coat zinc mixture and 2-3 white or enamel varnish. 
Either of these finishes will dry with a good gloss and 
should not turn yellow or check. 

OIL PAINT. 
IN TINTS. 

Reduce the priming coat with half turpentine and half 
oil. To one gallon of paint add a half -pint of good varnish. 
The paint should be of good consistency and applied smoothly 
and evenly. When hard dry, sandpaper, dust off and apply 
a coat mixed as before stated, only of a heavier consist- 
ency. This paint will dry with sufficient gloss to allow of 
washing. 

For three-coat work the primer should be mixed as 
noted and the second coat mixed with three parts turpentine 
and one part oil. This will dry about flat and can be sand- 
papered smooth before applying the finishing coat which 
should be mixed with half turpentine and half oil. To a 
gallon of the mixture add a half-pint of good mixing var- 
nish; this should dry with fair gloss and can be washed or 
scrubbed. 

GLOSS WORK. 

TINTS. 

The primer can be mixed with half oil and half tur- 
pentine. It is safer to cut down the amount of oil, using 
2-3 turpentine and 1-3 oil. After the priming is thoroughly 
hard, putty and sandpaper and apply a coat of flat color of 
good consistency. When hard, sandpaper to a smooth, even 
surface and apply a coat of 1-3 flat color and 2-3 good color 
mixing varnish. This paint should be flowed on smoothly 
and evenly. It will dry with a good gloss and make a very 
satisfactory finish. 



Practical Painting. 117 

Interior Finish, New Work, Protection and Preparation of tl><> 

Surface— Continued. 

FLAT FINISH. 
THREE COATS. 

A satisfactory flat finish can not be obtained with less 
than three coats unless the wood has been filled or sized. 
The priming coat for bare wood should be mixed to a thin 
consistency with % turpentine and V$ varnish. Putty with 
good, hard drying putty, one which will not show gloss 
spots or turn yellow. Sandpaper or rub with fine steel wool 
to a smooth surface. The second coat should be mixed to a 
heavier consistency, carrying a little larger percentage of 
varnish so as not to leave a surface which is too flat. This 
same mixture should be used for the first coat over a sur- 
face which has been filled or sized. (If for white work, 
white enamel varnish should be used where varnish is 
specified.) Rub smooth with curled hair, dust off and apply 
a finishing coat mixed flat. This will dry without gloss 
spots. It can be mixed with either lead or zinc, according 
to the specifications, also white or tints according to the 
work desired. 

If a dead flat finish is desired, when lead is used, the 
lead should first be w r ashed with turpentine. If a zinc- 
finish, use zinc in Damar reduced with turpentine. 

ENAMEL. 

THREE -COAT WORK. 

The priming or first coat should be mixed according to 
directions for flat work. If the lead used is soft ground, it 
shouid be washed with turpentine and allowed to stand over 
night and the turpentine poured off in the morning. Re- 
duce the paint with all turpentine to which reduction should 
be added 1-32 to 1-16 gal. of the enamel to each gal. of paint. 
This will assist in hardening the paint and the mixture 
can be used either on bare wood or over a sized surface. When 
the priming or first coat is thoroughly hard, puttj^ with good 
hard-drying putty, one which will not turn yellow, then rub 
with fine sandpaper or steel wool, after which apply a 
second coat mixed flat, to which has been added a pint of 
the enamel to a gallon of paint. Rub this coat smooth with 
fine sandpaper or curled hair. Apply a good, smooth, even 
coat of enamel of good consistency. If properly applied, the 
enamel can be left in full gloss finish or lightly rubbed. If 
a higher finish is desired, reduce the first coat of enamel 
with a small amount of turpentine (one pint to the gallon 



118 Heath & Mili.ica.n Mfg. Co., 

[nterior Finish, New Work, Protection and Preparation <»f the 

Surface— Continued. 

of enamel.) Rub tins coat with fine steel wool to kill the 
gloss and level down the surface, then flow on a smooth, 
even coat of enamel. This can be rubbed to the finish de- 
sired and polished after three to four days' standing. If 
desired, zinc can be used for the flat coats in the foregoing 
directions: however, it is best to use lead for building up 
undercoats. 

ZINC FINISH. 

The priming coat for zinc should be as directed for flat 
work. Lead is best to use for priming or first coat over a 
sized surface. Where two or three coats of flat zinc work 
are specified, reduce zinc that has been ground in Da mar 
Varnish with turpentine to a medium thin consistency and 
apply over a first coat of lead. When dry, rub with curled 
hair and apply a second coat of the same mixture of a 
heavier consistency. This will dry flat and make a beau- 
tiful finish. 

If a gloss finish is desired, apply the finishing coat of 
zinc in Damar reduced with turpentine to the consistency 
of varnish. To one part of this mixture add two parts white 
enamel varnish. If a higher finish is desired, rub this coat 
with fine steel wool and apply a coat of clear varnish. This 
can be rubbed to the desired effect. 

EBONY OR FLAT BLACK FINISH. 

Where work is to be finished in ebony, either in gloss or 
flat, the wood should be prepared according to the finish. 
If soft wood and is to be finished in ebony, it should receive 
a coat of shellac; putty with black putty and apply a coat 
of dark lead color, mixed flat, to wTiich has been added a 
half -pint of good hard-drying varnish to the gallon of paint. 
When hard dry, rub off smooth with curled hair. Over this 
apply a coat of flat black. If a gloss or polish is desired, 
apply a coat of black color and varnish or ebony finish. 
Tins can be rubbed to a dead effect. If a more expensive 
finish is desired, slightly reduce the first coat of varnish 
color or ebony finish, according to the temperature of the 
room. When hard dry, cut down smooth with fine steel 
wool, dust off and flow on an even coat of the color varnish 
or ebony finish. This can be rubbed and polished. 

Where grill work, plate rails, etc., of hard wood are to 
be finished and the open-grain effect is desired, add to the 
flat black a few drops of oil and apply a coat to the bare 



Practical Painting. 119 

Interior Finish, New Work, Protection and Preparation of the 

Surface — Continued. 

wood. Allow to stand a short time, then wipe off to the 
desired effect of flat Mack or Flemish finish. If, however, 
the hard wood is to be finished in gloss or polish, it should 
first ■ be filled with paste filler; then proceed as with soft 
wood varnish coats, leaving off the dark lead color coat. 

CUPBOARDS AND PANTRIES. 

When cupboards and pantries are to be painted, the first 
or priming coat should be applied to the bare wood and 
mixed with 2-3 turpentine and 1-3 oil. This will dry hard 
and can be sandpapered smooth. If two coats only are to 
be applied, the finishing- coat should be mixed to dry hard 
and firm. If oil paint, it can be mixed to a good consist- 
ency with 2-3 oil and 1-3 turpentine and a small amount 
of good japan, or mix the desired color flat and use half 
color and half good-drying varnish. The paint should be of 
the same consistency as varnish. To this a further per- 
centage of turpentine can be added to insure ease of work- 
ing, or a small percentage of oil can be used, but not enough 
to cause the paint to dry tacky. 

If three coats of oil paint are specified, the second coat 
should be of the same mixture as the primer, but of a 
heavier consistency. When hard, sandpaper and apply a 
coat of paint mixed with 2-3 oil and 1-3 turpentine. If 
sufficient time is allowed, this should dry firm and hard. 
If a varnish finish is desired, the finishing coat varnish 
color can be applied as recommended for two coat work. 

In. painting the pantries, cupboards, etc., it is very es- 
sential that the doors and drawers should not be closed, so 
as to allow the paint drying hard. A free circulation of air 
is absolutely necessary. 

GRAINING GROUND. 

Graining grounds which are mixed with all oil are very 
liable to crack and check after varnish has been applied 
over them. Care should always be used in noting that the 
imdercoats are thoroughly hard before applying subsequent 
coats. There should not be too much oil used. 

If the priming is to be applied to the bare wood, reduce 
with half oil and half turpentine. Allow this to thoroughly 
harden through, putty, sandpaper smooth and apply a coat 
of paint, mixed flat, to which has been added a half-pint of 
hard-drying varnish to the gallon of paint. When hard, rub 
smooth with fine sandpaper or steel wool and apply a coat 



120 Heath & Milligan Mfg. Co., 

interior Finish, New Work, Protection and Preparation of the 

Surface— Continued. 

of the same paint with the addition of varnish to allow of 
drying with a slight gloss, or a small amount of oil can be 
used, but not enough to cause the paint to dry tacky. If 
the surface has been sized, the tirst coat should be mixed 
with 2-3 turpentine and 1-3 oil, smoothed off and finished 
with one coat as recommended for finishing on bare wood. 
Graining color can be worked over this ground without dan- 
ger of cutting through with the graining combs or when 
cutting out growths, as is often the case when oil is used 
in ground work. 

It is best to grain in distemper for interior work. For 
exterior work, more oil can be used for building up the 
ground work than for interior. However, if the work is to 
be varnished, most of the oil should be cut out. A great 
many painters prefer not to varnis^i exterior work, but apply 
a coat of oil, rub off with a soft cloth and let the work 
remain with this finish. Where varnished work is used on 
the exterior, the graining should be done in distemper if 
possible, or the oil graining color should be allowed to stand 
until thoroughly hard before applying the varnish: this in- 
sures against blistering and cracking. 

FLOORS-INTERIOR. 

Where the priming can be allowed to stand a sufficient 
time to thoroughly harden, the paint can be mixed with half 
turpentine and half oil. W 7 here time will not permit, 2-3 tur- 
pentine and 1-3 oil should be used. Floor paint should dry 
hard, remembering that the priming or foundation coat is 
very important. After hard dry, putty and apply a second 
coat of paint mixed with 2-3 turpentine and 1-3 Copal or 
mixing varnish. This will dry hard with a slight gloss. 
Sandpaper and dust off and apply a coat of the same shade 
mixed with 2-3 varnish and 1-3 flat color. This will dry 
with a good gloss and can be used without fear of scratching 
or peeling if the varnish used is of good grade. After the 
floors have been used and have become somewhat worn, they 
can be renewed by washing clean and applying a thin coat 
of floor finish. This can be repeated as often as the floor 
shows wear. 

STAINING. 

Where it is possible, the wood should be stained before 
being nailed to the wall or as soon as the carpenter has fin- 
ished dressing. This will save time and labor in finishing. 



Practical Painting. 121 

Interior Finish, New Work, Protection and Preparation of the 

Surface— Continued. 

The stain should be of thin consistency so as to penetrate 
into the wood and not remain in spots on the surface. Allow 
the stain to remain on the wood a short time, then wipe off 
with a cloth to even up the work. On very soft pine, it is 
often necessary in order to produce uniform work to size the 
same with a thin sizing before staining. This size should be 
very thin, and it is well to wipe it off immediately after 
applying so as not to have an excess on the surface, thus 
keeping the stain from striking in and the soft and sappy 
places from absorbing so much of the stain as to make the 
finished work spotted. 

Where size is used, the stain should be allowed to remain 
on the surface longer than on the bare wood so as to allow 
of good penetration before wiping off. It is not necessary 
to wipe if care is used in brushing on the stain. Where it is 
not possible to stain the wood before nailing to the wall, the 
work should be thoroughly dusted, then puttied. Knife the 
putty into nail holes, cracks, etc., after which apply the 
stain. Allow the .stain to remain on the surface a short time, 
then wipe off to even up the work. When hard, sandpaper 
lightly and apply a shellac or liquid filler. When hard, rub 
with fine sandpaper or fine steel wool to a smooth, even coat, 
after which apply varnish, the number of coats depending 
on specifications. 

CUPBOARDS AND PANTRIES. 

Where cupboards and pantries are to be stained inside 
on the shelving, inside drawers, etc., they should receive a 
coat of shellac or good liquid filler over the stain, then a 
thin coat of hard-drying varnish, one which is not easily 
affected by heat, otherwise there is danger of warm dishes 
or other utensils sticking to it. 

FLOORS. 

Where floors are to be stained and finished, they should 
be stained and protected according to instructions previously 
given. Where these instructions have been followed, and as 
soon as the interior is finished, remove the paper and dust 
off the floors, if there should be dust from the plastering 
which cannot be removed with a duster, dampen a cloth 
with a mixture of half turpentine and half oil and with this 
remove all the dust and leave the floors clean. Do not have 
enough of the mixture on the cloth to make the floor oily— 



122 Heath & Milligan Mfg. Co., 

Interior Finish, New Work, Protection and Preparation of the 

Surface Continued. 
just 8 sufficient amount to take up the dust. If shellac is to 
he used over the stain, use turpentine for cleaning. Apply 
over this stain a thin coat of shellac or good liquid tiller. 
Ruh off lightly with tine sandpaper or steel wool and apply 
a coat of floor finish. This can he left in the gloss, rubbed 
with pumice stone and oil, or sandpapered to kill the gloss, 
then waxed in the usual manner. 

Should a deeper stain be wanted or the floor be marred 
or scratched, use a mixture of 1-3 stain and 2-3 floor finish. 
If the floor has not been protected before the plastering was 
done, it should be thoroughly cleaned, the mortar scraped off, 
sandpapered and dressed down smooth and the cracks filled 
with crack and crevice filler or puttied with good putty; then 
apply a coat of stain, after which the floor can be finished 
as noted. 

WALLS. 
TO PAINT PLASTERED WALLS. 

Plastered walls should receive a coat of size before 
painting. The best size which can be applied to a wall is a 
thin coat of oil paint. This is hard to apply without showing- 
laps, but these can be easily covered with subsequent coats. 
When hard dry, apply a coat of warm glue size which will 
fully stop absorption. 

If the Avails are to be painted in oil with a full gloss, 
they should receive the finishing coat of a full oil reduction. 
If to be half flat, the finishing coat should be mixed to a 
good consistency with half turpentine and half oil. This 
will cover the work in a solid manner and make good two 
coat work. 

If a varnish size is used, reduce a fair grade of hard oil 
finish or varnish to a thin consistency and apply freely with 
a full brush. When hard dry, apply a first coat mixed with 
half oil and half turpentine. 

If a full gloss is desired, the finishing coat of full oil re- 
duction can be applied over this surface, or, if half flat is 
wanted, the same mixture as for first coat can be applied, but 
must be of a heavier consistency. 

If the walls are to be finished flat, three coats over a size 
must be applied. If an oil paint and glue size are used, a 
second coat mixed half flat will produce a satisfactory foun- 
dation for the flat color. 

If varnish size is used, apply two coats of half flat paint, 
the second coat of a heavier consistency than the first coat. 



Practical Painting. 123 

Interior Finish, Nov: Work, Protection and Preparation of the 

Surface— Continued. 

If to be left flat, apply one even coat of flat paint mixed to a 

good consistency. 

If to be stippled, the paint should be mixed flat to a heavy 
consistency, carrying a small percentage of varnish. 

In applying a flat color on large rooms, two men should 
work together in order to avoid showing laps. In stippling 
large surfaces, it is customary for two men to apply the paint 
and one man to follow with the stippler. 

Where the walls are to be stippled in oil paint, the fin- 
ishing coat should be mixed to a heavy consistency with 2-3 
oil and 1-3 turpentine. Apply the paint medium heavy and 
allow it to stand a short time, then proceed to stipple. One 
man can apply the paint as well as do the stippling. 

PROTECTION OF WALLS. 

Where walls have been stippled or decorated, they can be 
protected by applying a thin coat of good starch. Boil the 
starch and strain. Be sure it is uniform throughout, then re- 
duce to a thin consistency and apply a thin coat and stipple 
the same as with paint. This will protect the decoration, and 
after it becomes soiled with smoke it can be washed off and 
another coat of starch be applied in the same manner as be- 
fore, thus saving the decoration for an indefinite length of 
time. 



124 IlKATH & MlLLIGAIS MPG. Co., 

INTERIOR FINISH— OLD WORK. 

In repainting a surface that has been painted, varnished 
enameled, or stained a number of times, it is important to 
know the character of the surface to be finished, the kind ot 
work that can be satisfactorily done over it, also necessary to 
know how to properly prepare the surface to receive the fin- 
ish, as well as to know that certain kind:: of work can not be 
successfully done over numerous coats. 

Flat white and enamel can not be applied over numerous 
coats of oil paint, as they will turn yellow and are liable to 
crack. Grained work can not be successfully done over an 
enameled surface, as the surface is so hard and brittle that 
when oil graining colors are used, it is liable to break loose, 
chip, crack or check. A surface which has been enameled 
can not be successfully refinished except in enamel. The only 
satisfactory way to remove enamel is with paint remover or 
to burn the surface. 

Painting can not be done over numerous coats of varnish 
without danger of checking or cracking, therefore the 
varnish should be removed before the paint is applied. 
Where numerous coats of oil paint have been . ap- 
plied and are of a spongy character or have not 
dried solid, the surface should be burned or the paint taken 
off with a paint remover. If the surface is cracked or alli- 
<jatored, it should be cleaned to the wood with a burning 
lamp or paint remover. If the work is badly cracked and will 
not permit of burning, it should be painted in flat color. 
Cracks will not show so badly finished in flat as in gloss. 

OIL PAINT. 

"Where oil paint is to be used over old work, sandpaper 
the old paint to a smooth surface and apply a coat mixed 
with half turpentine and half oil. If more than one coat is 
desired, the second coat can be applied of the same paint 
mixed to a heavier consistency; however, one coat is usually 
sufficient over old paint. It is not necessary to apply extra 
coats if the color used is of a similar shade to the old paint. 
A well covered surface can be made with one coat. Avoid 
applying more paint than is absolutely necessary to produce a 
solid finish. 

GLOSS FINISH. 

If the work is to be refinished in gloss, clean the surface 
and sandpaper or rub with steel wool to a smooth surface, 



Practical Painting. 125 

• Interior Finish, Old Work— Continued. 

then apply one coat of enamel or gloss finish as directed for 
new work, finishing- coat. > 

FLAT AND ENAMEL FINISH. 

If the work has received two or three coats of oil paint 
which have dried solid without signs of cracking or check- 
ing, it can be repainted with fair results if first sandpapered 
smoothly, then covered with a coat of paint mixed flat. When 
this is hard dry, apply a second coat if necessary: however, 
if the one coat will produce a satisfactory finish, it is all that 
should be applied. If an enamel finish is wanted over this 
same surface, the enamel can be applied over the flat color. 
The first enamel coat should be reduced with a pint of tur- 
pentine to a gallon of enamel. "When hard, rub the surface 
with fine steel wool to cut the gloss and level the surface, 
then apply a smooth, even coat of enamel, using a full brush 
and flowing on the enamel. This can be rubbed or left in a 
gloss finish. 

If the work is to be painted or enameled white and the 
surface has received numerous coats of oil paint and good re- 
sults are expected, the old paint will have to be removed. 
Then the surface, if thoroughly cleaned and sandpapered, will 
be in good condition to receive paint and should be treated 
in the same manner as new work which has not been sized. 

To enamel over a varnished surface, it is very necessary 
to remove all of the varnish. The ground work for enamel 
should be built up with a portion of the enamel or a good 
mixing varnish added to each coat. The paint should be 
mixed flat, with the enamel or varnish added. The first coat 
should contain from 1 pint to iy 2 pints of enamel to a gallon 
of paint. Apply the second coat of the same mixture of a 
heavier consistency. Each coat should be thoroughly sand- 
papered or rubbed smooth with steel wool before applying an- 
other. The third coat can be applied with a good enamel re- 
duced with a pint of turpentine to a gallon of enamel. If a 
deeper luster is wanted, apply a heavy coat of enamel of the 
original consistency. This can be rubbed to a flat finish or left 
in the gloss. If the enamel used is of good quality and the 
undercoats of varnish are not of a cheap rosin quality, this 
work will not check nor crack. 

KITCHENS AND PANTRIES. 

Kitchens and pantries, to be repainted, should be thor- 
oughly cleaned. The best way is to wash the woodwork and 



126 Heath & Milligaw Mfg. Co., 

Ir.t rior Pin! ii. Old Work Continued. 
wjiHs with rain water and washing compound, using 14. pound 
of washing powder or soda to throe gallons of rain water. 
Thoroughly sponge and brush the surface, then rinse with 
clear water. Thi^ will remove smoke or grease more readily 
than will turpentine or benzine. For the walls of the kitchen 
or pantry to be repainted, the tirst coat should be mixed half 
flat, then apply a full oil coat of a flat color mixed with var- 
nish, in the proportion of 1-3 color and 2-3 mixing varnish. 
Either of the foregoing will dry with a good gloss and can be 
washed. 

The woodwork should be thoroughly sandpapered, and. 
if in very bad condition, scraped. If the old paint is thor- 
oughly hard and two coat work is necessary the first coat 
should be mixed half flat, then a full oil coat applied over 
this, or flat color and varnish in the proportions directed for 
wall work. 

Shelves in cupboards and pantries should be thoroughly 
washed, sandpapered and then a coat of flat color applied. 
The finishing coat should be mixed with varnish and flat color 
to dry hard and solid so as not to be softened Avith moderate 
heat. Very warm cooking utensils are often placed in pan- 
tries and on shelves, and if the paint is not hard dry this is 
liable to soften it. 

KITCHEN AND PANTRY FLOORS. 

Floors should be scrubbed three or four days before paint 
is applied. If there are any grease spots, wash them with 
turpentine or benzine. The first coat of paint should be mixed 
to dry firm and hard in the wood. Reduce lead in oil with 
2-3 turpentine and 1-3 good Copal or mixing varnish. When 
hard, sandpaper lightly, dust off and apply a coat of 2-3 mix- 
ing varnish and 1-3 flat color. This will dry with a good 
gloss, firm and hard and make a coating which is not in dan- 
ger of being scratched or scuffed up. 

GRAINING GROUND. 

If the surface has been previously painted and is in good 
condition, thoroughly sandpaper and apply a coat of paint 
mixed flat and tinted to the proper ground color with a pint 
of hard-drying varnish added. Should the paint dry too flat 
for good working or combing of the graining color, an addi- 
tional amount of varnish can be added, or a small amount of 
oil. If numerous coats of oil paint have been applied, or if 



Practical Painting. 127 

Interior Finish, Old Work— Continued, 
the surface is badly cracked, the paint will have to he burned 
or removed with paint remover; then proceed as with new 
work. 

Where graining: is done over an old varnished surface, it 
is best to remove the varnish before applying the paint to 
avoid cracking; however, if it is impossible to do so, the 
ground work can be mixed to a semi-paste with a good mix- 
ing varnish, then reduced to a painting consistency with tur- 
pentine. A small amount of oil can be used should the color 
not work freely, but not to exceed four ounces of oil to the 
gallon of paint. Should the paint dry too flat for good work- 
ing or combing of the graining color, an additional amount of 
varnish can be used in the second coat to produce an egg- 
shell or semi -gloss, whichever is desired. 

STAINING. 

If a surface which has been previously painted or var- 
nished is to be stained, it must be handled and built up with 
the proper shade of ground color according to the wood to be 
imitated in the same manner as a similar surface for grain- 
ing ground. The stain must be of a heavier consistency than 
for bare wood. Brush out thin and even. It can not be wiped 
off as on new work and the effect depends upon the brushing. 
If the grain of the wood is to be imitated, the surface must 
be grained. 

DRYING. 

It should be borne in mind that light and air are neces- 
srry to the drying of paint. Paint will not harden in tightly 
closed rooms. This is especially true of kitchens, pantries 
and work of this character where there are numerous shelves, 
drawers, etc., and if closed the paint or varnish will remain 
tacky and not harden through. 

Floors which are to be painted should be exposed to a 
free circulation of air from underneath. If they are over 
damp basements or cellars, the windows or ventilators of same 
should be opened to allow of free air circulation from under- 
neath, as dead or damp air will prevent the paint or varnish 
on floors from hardening. 



128 Heath & Mulligan Mfg. Co., 

THE HEATH & MILLIGAN PAINTS. 

The following pages are devoted to directions for use of 
The Heath & Milligan Products: 

So much depends upon proper application in order to 
obtain satisfactory results in the use of paint that we con- 
sider it due our customers to provide directions for the use of 
our different products and in this manner do our part towards 
insuring the desired results. 

While it is impossible to furnish directions which cover 
the proper use and application of paint under all conditions, 
still we have made our directions as specific as possible, aim- 
ing to cover to the fullest extent the most important points. 
To give full and explicit directions for the treatment of the 
various surfaces and for the uses of The Heath & Milligan 
Paints would be but a repetition of the information given 
under the various headings in the first part of this book. 

The Heath & Milligan Paints are practical painters* paints, 
so manufactured and prepared that they stand the necessary 
tempering to meet the various conditions under which paint 
is applied, and in the use of these products the foregoing in- 
formation should be carefully considered and adopted as part 
of the directions for the proper use of The Heath & Milligan 
Paints. 

The Heath & Milligan Paints are manufactured with a 
practical knowledge of the requirements of paint. From 1851 
to 1879 the firm of Heath & Milligan operated in conjunction 
w T ith their manufacturing business one of the largest painting 
and decorating departments in the United States, and many 
of the practical painters of to-day can look back to the time 
when they either served their apprenticeship or time with the 
firm of Heath & Milligan. 

It is the knowledge gained in not only more than half a 
century of careful study in the manufacture of the goods, but 
the working under practical conditions that has given perfec- 
tion to The H. & M. Line. 

We attribute our success to the support of thousands 
of practical painters over the entire country, many of whom 
have at one time been associated with us, together with a 
scientific knowledge of requirements, gained through practical 
use of the goods. 

We solicit in this work the co-operation of all practical 
painters, both by carefully following our directions and by 
calling our attention to any valuable information which has 
not been included in these directions so that we can embody 
it in our next edition. 



Practical Painting. 129 

AMOUNT OF PAINT REQUIRED FOR A GIVEN SURFACE. 

Ascertain the number of square feet of surface to be 
painted, as shown under the heading of "How to Measure or 
Estimate a Surface." See pages 5, 6 and 7. 

BEST PREPARED PAINT. White or Light Tints: One 
gallon Best Prepared Paint, reduced and applied according to 
directions, will cover over a smooth or fair surface 300 square 
feet, two coats. Dark tints or solid colors, Crimson, Red, Red 
Brown, Tuscan Maroon, Crylight Green, Myrtle Green and 
Black, applied according to directions, will cover 450 square 
feet, two coats. 

BEST PREPARED PORCH AND FLOOR PAINT, reduced 
and applied according to directions, will cover from 250 to 
300 square feet, two coats, according to the condition of the 
surface. 

CREOL1TE, "The Most Perfect of Floor Paints," will cover 
200 to 300 square feet, two coats, depending upon the condi- 
tion of the surface. 

IXL ROOF AND BARN PALNT and MOSS GREEN ROOF 
PAINT: One gallon reduced and applied according to direc- 
tions will cover 300 square feet, two coats, on barns or struc- 
tural work, the lumber of which has been dressed. For new 
shingle roofs, figure a gallon reduced according to directions 
to cover a square, two coats. For old shingles no definite 
amount can be given, as all depends upon the condition of the 
shingles. Old, weather-beaten shingles require from % to one 
gallon of properly reduced paint to cover a square, one coat. 
For dipping shingles, two gallons reduced according to direc- 
tions will dip 1,000 regulation shingles 11 inches. On a tin or 
metallic surface, one gallon reduced and applied according to 
directions will cover 450 square feet, two coats. 

For a gloss finish on brick work or for flat brick red un- 
der coats, IXL will cover, when reduced and applied accord- 
ing to directions, from 200 to 400 square feet, one coat, ac- 
cording to the porosity of the surface. 

DURABLE FLAT BRICK RED: If undercoats are of IXL 
Roof and Barn Paint, note the foregoing information as to 
the amount required for a given surface. If Best Venetian 
Red in Oil is used for undercoatings, figure from 2% to 3% 
pounds, according to the porosity of the surface, to cover a 
square one coat reduced according to directions. 

DURABLE FLAT BRICK RED: 2 pounds, reduced accord- 
ing to directions and applied over a suitable undercoating, will 
cover a square. 



130 Heath & Milliuan Mfg. Co., 

Amount of Paint Required for a Given Surface — Continued. 

BEST GRAPHITE PAINT IN PASTE AND LIQUID 
FORMS. 2 lbs. of Best Graphite in paste form, reduced and 
applied according to directions, will cover a square, one coat. 
One gallon of liquid Graphite will cover 600 square feet, one 
coat. 

RAILWAY WHITE LEAD: To ascertain the amount of 
Railway White Lead required to paint a given surface, figure 
3^ lbs. to the square, two coats. 

SOLID COLORS: GREEN, TUSCAN RED, INDIAN RED 
and VENETIAN RED, ground in oil, when used as trimming 
or body colors, can be figured from 2V, to 3 lbs. to the square 
reduced to painting consistency. 



Practical Painting. 131 

GENERAL DIRECTIONS. 

If a new surface, carefully consider the character of the 
surface to be painted and whether two or three coats are nec- 
essary in order to produce satisfactory work. Study the char- 
acter of the lumber as to its drying and absorbing properties. 
Reduce and apply the paint accordingly. 

Knotty, pitchy and sappy places should receive a thin 
coat of shellac before painting. 

After priming, putty all nail holes, cracks and crevices 
with good, hard-drying putty. 

If an old surface and it is to be repainted, remove all 
grease, dust, dirt and loose paint. Carefully consider the con- 
dition of the old coats as to hardness and porosity. Examine 
the surface and determine whether the undercoats are prop- 
erly bound together and the priming coat adheres solidly to 
the surface. If an ochre or other cheap primer has been used, 
look out for spots which have received a heavy coat and are 
ready to break loose. 

Examine the surface and determine whether there is 
dampness from wet basements, down spouts or wet soil. Wash 
mildewed places with turpentine. Look out for previous 
coatings of shriveled paint. See whether the old paint has 
checked or cracked in fine hair lines. (This does not seem 
dangerous; however, if the previous coatings have cracked or 
are peeling, the surface must be cleaned and treated accord- 
ing to its condition.) Reduce and apply the paint with judg- 
ment. 

If a liquid paint is to be used, thoroughly shake the pack- 
age before opening; if a sealed can, remove the slip cover and 
carefully note any printed directions under it. Cut out the 
full soft end. The cover on our sealed cans, being thin tin, is 
easily cut with a can opener or pocketknife. Our friction- 
top pry-open cans are easily pried open with a coin or nail. 
Remove the entire top of buckets and barrels so as to facili- 
tate the stirring process. 

Paint can not be thoroughly stirred with a round stick, 
neither can it be thoroughly stirred by a circular motion nor 
through a bunghole or small opening. Use a flat paddle for 
stirring, of a width proportionate to the size of the package, 
always stirring from the bottom up. 

INCORPORATING A LIQUID PAINT; Provide a mixing 
keg or pot proportionate to the size of the mixture. Allow 
plenty of room for stirring and thoroughly incorporate the 
paint, allowing sufficient space for the addition of necessary 



132 Heath & Milligan Mfg. Co.. 

General Directions— Contlnned. 

thinners. Should any pigment remain in the bottom of the 
package after thoroughly shaking, pour out about half of the 
contents into the mixing keg or pot. When the remaining 
half is thoroughly stirred from the bottom up, gradually pour 
the contents into the larger receptacle, continuing the stirring 
until the paint is of a uniform consistency. A liquid paint 
should not be used out of the original package, as there is not 
room for thorough reincorporation or proper reduction. 

REDUCING AND MIXING A PASTE PAINT. Use a mix- 
ing keg or package of sufficient size to hold all the paint re- 
quired for each coat, allowing room for stirring; through this 
means the paint for the entire coat will be uniform. In mix- 
ing or breaking up the paint, use a flat paddle as large as can 
be handled to advantage. Paint can not be thoroughly stirred 
with a round stick nor by a circular motion. It must be 
stirred from the bottom up to thoroughly combine the oil and 
pigments. The thinners should be gradually added to insure 
a smooth and uniform mixture. If all the thinners are dumped 
in at once, the mixture will be lumpy, necessitating straining 
before using. When it is practicable, break up the paint the 
day before it is to be used, reducing it with part of the oil to 
a heavy paste consistency. The next day add the balance of 
the thinners, japan first and then the oil and turpentine. When 
necessary to use japan, get only the best, and use it sparingly. 
Buy a turpentine japan bearing the name of a reputable man- 
ufacturer. 

LIQUID PAINTS, STAINS, ETC., should not be left ex- 
posed to the air, while in the package, otherwise they may 
become fatty and gummy. This makes them work hard 
under the brush, retards their drying, and in some cases 
causes them to run. To prevent this, put the slip covers or 
friction tops back in place when not in use. Buckets and 
barrels should be kept covered with a piece of heavy can- 
vas forced down closely over the top by the use of a hoop. 

REDUCTION should be made according to the condition 
of the surface. Owing to the varied character of the same 
lumber, definite instructions can not be given for the treat- 
ment of each class. The number of coats to be applied to a 
surface in order to produce satisfactory results should be de- 
termined after a careful examination of the surface and the 
priming coat reduced accordingly. There is no economy in at- 
tempting to cover a surface with two coats when three are 
necessary. A finishing coat piled on to hide the surface and 
grain of the wood will not properly bind, will soon crumble 



Practical Painting. 133 

General Directions— Continued. 
or break away and leave a treacherous surface for repainting. 
The reduction should be made with oil and turpentine ac- 
cording to the condition of the surface. On old work no defi- 
nite rule can be given as to the necessary amount of reducers. 
The paint must be reduced with judgment according to the 
condition of the surface. For parts which are old or weather- 
beaten, the paint must be reduced with more oil, while for 
protected or non-absorbent surfaces more turpentine must be 
used to form proper binding and penetration. 

IMPORTANCE OF THE PRIMING COAT: This should be 
of the same material as the finishing coats. Use as much care 
In applying the primer as you would the finishing coat. The 
paint should be thinned according to the requirements of 
the surface to be painted, bearing in mind that the wood must 
be satisfied and that where soft woods are to be painted more 
linseed oil should be used in reducing the priming coat than 
for hard, non-absorbent woods. In priming close-grained, 
non-absorbent woods, a larger percentage of turpentine must 
be used to assist in killing the sap, as well as giving better 
penetration than for soft woods. 

Don't be afraid of getting the priming coat too thin. It 
must be thin enough so that it will be readily absorbed, thus 
satisfying and filling the surface. If the surface is properly 
filled, it will stop absorption of subsequent coats, bringing 
out the full body of the paint. Don't be afraid to use turpen- 
tine in priming coats; it assists penetration and forms a much 
better binder between paint and surface. Never use benzine 
nor gasoline in reducing the priming coat nor for- any subse- 
quent coat, as they are not penetrators, but evaporate on the 
surface, leaving too much pigment without proper binders. 
Remember, the primer is the foundation upon which the last- 
ing qualities of after coats depend. 

GREEN OR FATTY LUMBER: Judgment must be used 
in reducing paint for priming coats over green or fatty lum- 
ber. For liquid paints the reduction varies from the direc- 
tions given under the heading of "Primer— F'or Normal Con- 
ditions" to a full turpentine reduction according to the run of 
the lumber. If the lumber is exceedingly rich or fatty, re- 
duction must be made with turpentine only, at the rate of *4 
gallon of turpentine to a gallon of Best Prepared Paint. For 
paste paint, the reduction should be made with turpentine at 
the rate of 25 to 40 per cent of the total amount of thinners 
used. 

BRUSHING: Do not apply the paint too heavily. Use 



134 Heath & MlLLIGAN ^If<;. Co., 

General Directions— Continued, 
plenty of "elbow grease." The paint must he thoroughly 
brushed in and worked out under the brush. In the thorough 
and careful brushing of the coat rests, to a certain extent, the 
success of the paint as to its wear and protection of the sur- 
face to which it is applied. 

DRYING: Be sure the undercoatings are hard dry be- 
fore applying subsequent coats. 

Middle or finishing coats applied over a surface which is 
not thoroughly dry will not properly dry. They will dry from 
the surface down, while they should dry from the bottom out. 

Paint that has not hardened through and is soft under- 
neath allows sinking in of both the middle and finishing 
coats. This will cause the paint to lose its gloss. 

If paint begins to dry slowly from the bottom and a more 
rapid oxidation takes place on top, forming a skin, there will 
be a soft coat between the two. and as drying takes place 
in the center the top skin or coating .will be drawn, thus caus- 
ing the paint to crinkle. 

If satisfactory results are to be expected, sufficient time 
must be allowed for each coat to thoroughly harden through 
before applying subsequent coats. 

For inside work, light and air are necessary for the proper 
drying of paint, stain or enamel. When set dust free, open 
doors and windows, admitting of a free circulation of air. 

Never paint during or immediately after rain, frost, fog, 
heavy mist or dew. 



Practical Painting. 135 

CAUTIONS. 

Do not expect the paint to do all the work. It won't. 

Xo paint manufacturer can make ONE paint which will 
meet every requirement. 

Judgment must be used as to the surface to be painted. 

Never use a cheap primer. The priming coat should be 
of the best. It is the foundation upon which all subsequent 
coats must be built. 

The best paint, if improperly applied or applied over a 
surface not in condition to receive paint, will not gire good 
results. 

A successful painter is one who makes a thorough study 
of the work on hand and knows what is necessary to use in 
order to produce the best results. If oil or turpentine is 
needed, he should know when and how much. 

Good results can not be obtained on poor lumber. 
Moisture is the bane of the painter and paint manufac- 
turer. Possibly more trouble can be traced to moisture than 
to any other cause of paint going wrong. 

Paint will blister, peel and scale if the surface painted 
contains moisture. 

Moisture is always present in improperly seasoned or 
green lumber. It is often present because of defective win- 
dow casings, leaky down spouts and freshly plastered walls. 

It is important that the foundation should have ventila- 
tors or windows, so that there will be a free circulation of 
air underneath the buildings to carry off the dampness. If 
this precaution is not taken, the dampness will go up through 
the space between the plastering and siding and the sun and 
warm air will draw it through to the outside, causing the 
paint to blister, peel and scale. 

Mildew is another serious trouble. This is a vegetable 
growth and is always a sure indication of dampness. Note 
information given on Page 65. 

Do not be in a hurry with your work. Do not apply .the 
paint too heavily. 

A well-brushed-out coat of the proper consistency and 
plenty of time allowed for its hardening through will more 
than repay in the after effects for the time spent. 

There is a difference between paint drying and harden- 
ing. Paint may dry in a few hours, but takes days to harden. 

Light and air are essential to the proper drying of paint. 

With inside painting, do not tightly close the room and 
expect the paint to dry. It won't. 



136 Heath & Milligan Mfg. ( o.. 

Cautions— Continued. 

Xou run not ^:**t good results on an old surface unless it 
is put in proper condition to receive paint and the paint pre- 
pared and applied according to the condition of the surface. 

Paint when struck with frost hefore it is dry wrinkles 
and loses its gloss. 

Heavy dews on paint not dry also destroy the gloss. 

There are certain times of the year when outside painting 
should not he done if satisfactory results are to he expected. 

Do not paint too early in the spring, as the surface is very 
apt to he full of frost and moisture. 

More complaints of peeling can be traced to early spring 
painting than to painting done at any other time of the year. 

All paints and oils are much heavier in cold than in warm 
weather. If applied in a low temperature, there is apt to be 
too heavy a coating. 

Painting should never be done in extremely hot weather. 

Better and more uniform results can be obtained if the 
full amount of paint required for each coat is mixed at one 
time. 

Prevent the paint from skinning over as much as possible 
by keeping the mixing keg covered when not in use. The 
formation of skin robs the paint of its drier. 

Paint must be kept of a uniform consistency to give uni- 
form results. 

Where japan is used, always get the best and use it 
sparingly. Never add japan last or after the mixture has* 
been thinned down. 

An excess of japan will keep the paint from hardening 
and make spongy work. 

There are very few exceptions to the statement that 
boiled linseed oil should never be used for undercoatings." 

Always use pure raw linseed oil for reducing The Heath 
& Milligan Paints, except as otherwise specified in our direc- 
tions. Insist on having the best. See that it bears the brand 
of some reputable oil crusher. 

There are no substitutes for linseed oil. 

An excess of oil in the middle coat on new work and first 
coat on old w r ork will retard the hardening and cause the fin- 
ishing coat to flatten out, also very apt to cause blistering. 

TACKY PAINT: This is more often caused through im- 
proper application of the undercoats than through any fault of 
the paint. 

Paint, varnish, or a similar product applied over a glossy 
surface or a surface which is not hard dry is much more like- 



Practical Painting. 137 

Cautions— Continued. 
ly to remain tacky than if applied over a thoroughly dry, 
half flat or flat surface. 

Some paint pigments are natural dryers, while others are 
non-dryers. The non-drying pigments, when used in painting, 
if not properly prepared and applied over a suitable surface, 
are very apt to dry tacky and remain so. 

Varnish added to oil paint will cause the paint to remain 
tacky. Colors in oil mixed with varnish will not harden, bu1 
soften under exposure to heat. 

Always prime a building before the plasterer commences 
his work. 

Never second or third coat a building while the plaster is 
drying out. A building should never be tightly closed while 
the plaster is drying out. 



138 Heath & Mllligan Mfg. Co., 

THE HEATH & MILLIGAN BEST PREPARED PAINT. 

A PAINTERS PAINT. 

THE STANDARD PAINT OF AMERICA. 

Made with a practical knowledge and embracing all re- 
quirements necessary to meet existing conditions. 

Best Prepared Paint is made from the best paint ma- 
terials possible to obtain. No ingredient can enter into its 
composition without undergoing a careful chemical test to 
see that it is up to a standard of our own. The different in- 
gredients are scientifically combined by heavy machinery into 
a mixture embodying the maximum of uniformity, durability, 
ease of working, beauty and economy, the essentials most 
necessary in paint, and which have contributed to its in- 
creased consumption and popularity. 

Best Prepared Paint is a body paint of a finishing coat 
consistency, so prepared that it will stand tempering with oil 
and turpentine to meet the different conditions under which 
paint must be applied. 

Best Prepared Paint is made in sixty rich and attractive 
shades and is put up in quart, half-gallon and gallon cans; 
five-gallon buckets, half-barrels and barrels. 

We have some practical literature in which we explain 
among other things why Best Prepared Paint is much better 
than any possible hand mixture of strictly pure white lead 
and oil. In this literature we also explain some of the reasons 
why Best Prepared Paint is the most satsifactory product of 
its kind on the market. Our exclusive agents will supply you 
with copies of this literature or we will send them to you 
upon request. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN BEST 
PREPARED PAINT. 

For the amount of paint required on a given surface, note 
information Pages 129-130. 

Prepare the surface and paint in connection with general 
directions, Pages 131 to 134, inclusive. 

Best Prepared paint is a body paint, and to obtain the 
best results through its use, plenty of "elbow grease" must be 
applied. The paint must be well brushed out on all coats to 
insure proper binding, uniform drying and an even surface. 

PRIMING COAT: Note the ''Importance of the Priming 
Coat.*' Pages 68 and 69. 



Practical Painting. 139 

Directions for Using The Heath & Milligan Best Prepared Paint— 

Continued. 

THE FINISHING OR LAST COAT: All paints and oils 
are heavier in low temperature than in warm weather. Best 
Prepared Paint is of the proper consistency for finishing 
coats if applied in a temperature of 70 degrees or over. When 
painting in cold weather, 1-16 gallon of turpentine to a gallon 
of Best Prepared Paint will assist in properly spreading and 
drying the paint. This amount of turpentine will not affect 
the gloss or life of the paint. 

Use only raw linseed oil and turpentine as per direction?. 

Never use boiled linseed oil in Best Prepared Paint, 

Never add japan to Best Prepared Paint. 

Best Prepared Paint carries the right amount of oxidizer 
to insure proper drying. 

Never paint immediately after a rain storm, frost, fog or 
heavy mist. 

DIRECTIONS FOR REDUCING BEST PREPARED PAINT FOR 
EXTERIOR PAINTING— NEW WORK. 

The priming coat is the most important coat of paint ap- 
plied to any surface. It is the foundation upon which the 
success of future coats depends. No matter how good a paint 
may be, it can not be held responsible for unsatisfactory re- 
sults if applied over an ochre or any other cheap primer. 

The following directions are for the reduction of Outside 
White and tints when applied in normal temperature and to 
a surface in normal condition, viz.: lumber of the average run 
in quality, grain, sap and dryness. 

Reduce the paint according to conditions and quality of 
lumber. Note information. Pages 14 and 15, as to the char- 
acter of the different lumbers used for exterior building. 

If the lumber is not properly seasoned or very fatty, bet- 
ter results will be obtained by allowing the building to stand 
for some time before painting. Where this is not possible, 
more turpentine used in the priming coat will produce better 
results. If the surface is dry and porous, more oil must be 
used. 

Study the character of the lumber and determine whether 
two coats of properly reduced paint will produce satisfactory 
work. 

Allow at least six or eight days, according to weather 
conditions, for the paint to harden through. Putty between 
the priming and finishing coats. 



140 Heath & Milligas Mfg. < «>.. 

Directions for Reducing Best Prepared Paint for Exterior Painting — 
New Work— Continued. 

TWO COAT-NEW WORK. 

PRIMER: For Oregon pine, hard pine, cypress, hemlock, 
ash, chestnut and oak reduce one gallon Best Prepared Paint 
with: 

1 pint raw linseed oil and 1 pint turpentine 
For white pine, poplar, gum, spruce, birch, elm and maple 
reduce one gallon Best Prepared Paint with: 

iy 2 pints raw linseed oil and % pint turpentine. 
For Oregon fir, cottonwood and basswood reduce one gal- 
lon Best Prepared Paint with: 

1 quart raw linseed oil and % pint turpentine. 
For cedars and redwood reduce one gallon Best Prepared 
Paint with: 

3 pints raw linseed oil and 1 pint turpentine. 
FINISHING COAT: Thoroughly mix the paint and apply 
according to directions given under heading of '"Finishing or 
Last Coat " 

THREE COAT— NEW WORK. 
PRIMER: For Oregon pine, hard pine, cypress, hemlock, 
ash, chestnut and oak reduce one gallon Best Prepared Paint 
with : 

iy 2 pints raw linseed oil and 1% pints turpentine. 
For white pine, poplar, gum, spruce, birch, elm and maple 
reduce one gallon Best Prepared Paint with: 

1 quart raw linseed oil and 1 pint turpentine. 
For Oregon fir, cottonwood and basswood reduce one 
gallon Best Prepared Paint with: 

3 pints raw linseed oil and y 2 pint turpentine. 
For cedars and redwood reduce one gallon Best Prepared 
Paint with: 

% gallon raw linseed oil and 1 pint turpentine. 
FOR SECOND COAT, OR FIRST COAT OVER PRIMER: 
Reduce one gallon Best Prepared Paint with: 

% pint raw linseed oil and 1% pints turpentine. 
FOR THIRD OR FINISHING COAT: Thoroughly mix the 
paint and apply according to directions given under the head- 
ing of "Finishing or Last Coat." 

DIRECTIONS FOR REDUCING BEST PREPARED PAINT FOR 
EXTERIOR PAINTING-OLD WORK. 
No definite rule can be given as to the reduction neces- 
sary. Note information as to the proper treatment of various 



Practical Painting. 141 

Directions for Reducing B^st Prepared Pai"t for Exterior Paint- 
ing, Old Work— Continued. 

surfaces, under the heading "Exterior Painting— Old Work," 
Pages 94 to 107, inclusive. 

Reduce and apply the paint with judgment, according to 
the condition of the surface. 

TWO COAT WORK UNDER NORMAL CONDITIONS. 

FIRST COAT: To one gallon Best Prepared Paint add: 
1 pint raw linseed oil, 
1 pint turpentine. 
Allow six to eight days for the paint to harden through. 
Putty after this coat. 

FINISHING COAT: Thoroughly mix the paint and apply 
according to directions given under the heading "Finishing or 
Last Coat " 

BRICK AND STONE WORK. 

The surface to be painted should be clean, dry and free 
from dust, dirt and mildew. If the surface is one which has 
been previously painted, scrape off all loose particles and 
see that a good foundation is left for the coats of paint which 
are to be applied. 

Note the information given under the heading of general 
directions. Pages 131 to 134, inclusive. 

No definite rule can be given as to the reduction neces- 
sary. All depends upon the condition of the surface, and 
judgment must be used accordingly. For good results on new 
work, three coats must be applied. For an ordinary surface, 
thin and use as follows: 

PRIMER: Reduce one gallon Best Prepared Paint with: 
1% pints raw linseed oil and l 1 /. pints turpentine. 

FOR SECOND COAT, OR FIRST COAT OVER PRIMER: 
Reduce one gallon Best Prepared Paint with: 

% pint raw linseed oil and iy 2 pints turpentine. 

FOR THIRD OR FINISHING COAT: Thoroughly mix the 
paint and apply according to directions given under the head- 
ing of "Finishing or Last Coat." 

One gallon Best Prepared Paint, reduced and applied ac 
cording to directions, will cover brick or stone surfaces from 
200 to 400 square feet, one coat, according to the porosity of 
the surface. 

DIRECTIONS FOR INTERIOR PAINTING-NEW WORK. 

The surface to be painted must be clean, dry and free 
from grease, dust and dirt. Crease and oil stains should !"■ 



142 Heath & Mili.k.an Mfg. Co., 

Directions Cor interior Painting, New Work — Continued. 
removed with turpentine. 

Note the information given under the heading of General 
Directions, Pages 131 to 134, inclusive. 

For all inside work turpentine in place of linseed oil should 
be used for the reductions. 

PRIMER: To one gallon Best Prepared Paint add: 
1 quart turpentine. 

FINISHING COAT: To one gallon Best Prepared Paint 
add: 

1 pint turpentine. 

If three coats are to he applied, reduce the priming coat 
same as for two coat work. The second and third coats 
should both be reduced at the rate of one pint turpentine to 
one gallon Best prepared Paint. 

INSIDE WHITE contains a large percentage of turpen- 
tine and should never be used for outside work. For an in- 
side white finish, three coats are recommended. The first and 
second coats should be reduced at the rate of a pint of tur- 
pentine to a gallon of Inside White. The third coat should 
be applied as found in the package, after thorough mixing. 

INSIDE WHITE applied as noted gives an eggshell gloss. 
Where a flatter effect is desired, the first coat should be re- 
duced with one pint turpentine to a gallon of Inside White; 
second coat applied as received in the package, after thorough 
mixing. The third or finishing coat should be reduced with 
one pint turpentine to a gallon of Inside White. 

INSIDE GLOSS WHITE: The first and second coats should 
be Inside White reduced at the rate of one pint turpentine to 
a gallon of Inside White. The finishing coat should be of 
half Inside White and half Inside Gloss White. 

If a full enamel gloss is desired, apply the first coat of 
Inside White reduced with one pint turpentine to a gallon 
of Inside White; the second coat reduced at the rate of % 
pint turpentine to a gallon of Inside White, and the finishing 
coat of Inside Gloss White applied as received in the package, 
after thorough mixing. 

Ample time must be given for undercoats to thoroughly 
harden before subsequent coats are applied. Sandpaper and 
dust off between coats. 

DIRECTIONS FOR INTERIOR PAINTING— OLD WORK, OR 

NEW WORK THAT HAS BEEN SHELLACKED 

OR SIZED. 

The surface to be painted must be clean, dry and free 



Practical Painting. 143 

Directions for Interior Painting, Old Work, or New Work that 
has been Shellacked or Sized— Continued. 

from grease, dust and dirt. \f an old surface, it should be 
evened up and the gloss removed by thoroughly sandpaper- 
ing. Grease and oil stains should be removed with turpen- 
tine. 

Note the information given under the heading of General 
Directions, Pages 131 to 134, inclusive. 

For tints, two coats are recommended, reducing both 
the same, as follows: 

FIRST AND SECOND COATS: Reduce one gallon Best 
Prepared Paint with 

1 pint turpentine. 

FOR WHITE: If the work has been previously painted 
white, apply one coat of Inside White as received in the 
package, after thorough mixing. If used over a light tint, 
two coats should be applied, both of the same mixture, re 
duced with % pint turpentine to a gallon of Inside White. 
If applied over a dark color, three coats are necessary- 
apply and reduce as for new work. If a flatter effect or a 
gloss finish is desired, reduce and apply same as for new 
work. 

NOTE: Never use Inside White for outside work and 
never use Outside White for inside work. Outside White is 
ground in and thinned with linseed oil which turns yellow 
on inside work and should not be used for that purpose. 

Note information as to the drying of paint, Pages 75, 76 
and 77. 

TRIMMING COLORS. 

Vermilion is a fugitive color when exposed to the light- 
It will wear longer and hold its color better if protected 
with a thin coat of durable varnish. It is intended for a 
finishing coat only and should be used as found in the pack, 
age, after thoroughly mixing. The richness will be better 
brought out if used over a suitable ground color. Fawn or 
Light Terra Cotta, reduced for two-coat work according to 
directions, makes a good ground for this color. 

Crimson, Red, Red Brown, Tuscan Maroon, Crylight 
Green, Myrtle Green and Black are made from what are 
termed solid pigments and are not produced from a white 
base. These are used principally for trimming colors, and 
where one coat is used it should be applied as found in the 
package, after thoroughly mixing. If two coats of Crimson. 
Red, Red Brown, or Tuscan Maroon are used for either trim 
ming or body color, the first coat should be reduced at the 
rate of one pint turpentine to the gallon of paint; the finish- 



144 Heath & Mili.k.an Mfg. Co., 

Trimming Colors — Continued. 
Ing coat applied as received in the package. 

( Iryligtit Green, Myrtle Green and Black are not fillers 
and should be used as follows over Best Prepared Paint 
undercoatings: 

BLACK: Prime and second coat with Lead Color Best 
Prepared Paint, reduced according to directions for three- 
coat work: finish with one coat of Black as found in the 
package, after thoroughly mixing. 

CRYLIGHT GREEN and MYRTLE GREEN should be 
used over a primer of Olive Best Prepared Paint, reduced 
according to directions. If only one coat of Green is used, 
apply as found in the package, after thoroughly mixing. If 
two coats are needed, thin the middle or first coat over 
primer with y$ gallon of turpentine to a gallon of paint, and 
apply the last coat as found in the package. 

TUSCAN MAROON, if applied over a lighter red, will 
show much more brilliancy and depth than if applied over 
itself or a light tint. For the undercoating use Red Best 
Prepared Paint, thinned according to directions. 



Practical Painting 145 



FLOOR PAINTING. 

For the protection of floors; preparing and applying the 
paint on new and old work, note information given under 
the heading of ''Protection and Preparation of the Surface," 
Pages 112 to 115, inclusive. 

Note information given under the heading of "Floors- 
Interior Finish, New Work," Page 120. 

Note information given under the heading of 'Kitchen 
and Pantry Floors— Interior Finish, Old Work," Page 126. 

Note information given under the heading of "Veranda 
and Porch Floors— New Work." Pages 92 and 93. 

Note information given under the heading of ''Veranda 
and Porch Floors— Old Work," Page 106. 



146 Heath & Muxiqab Mfg. Co., 

THE HEATH & MILLIGAN BEST PREPARED PORCH AND 
FLOOR PAINT IN LIQUID FORM. 

Made with a knowledge of the hard usage such paint 
must endure. That it fills requirements is shown by the 
fact that for years it has excelled as the best general floor 
paint. We were the first to put up and market a paint ex- 
clusively for floor painting. 

Our Floor Color is the original Floor Paint. 

Best Prepared Porch and Floor Paint is a combination 
of the most durable pigments and thinners known to paint 
making. 

Best Prepared Porch and Floor Paint is especially pre- 
pared for painting porch floors, steps, inside or outside floors 
or stairs, or any woodwork subjected to severe wear. 

Best Prepared Porch & Floor Paint is put up in five- 
gallon buckets; gallon, half -gallon and quart cans. 

Best Prepared Porch & Floor Paint is made in seven 
shades, as shown on the sample shade card. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN BEST 
PREPARED PORCH AND FLOOR PAINT. 

For the amount of paint required on a given surface, 
note information Page 129. 

Prepare the surface and paint in accordance with gen- 
eral directions, Page 131 to 134, inclusive. 

Best Prepared Porch & Floor Paint is a body paint and 
must be well worked out under the brush. 

If the floor has been scrubbed, let it dry two or three 
days before painting. 

Remove all grease spots by washing with turpentine. 

If only one coat is to be used, apply as found in the 
package; thoroughly brush the paint out. 

Two coats are recommended, always being sure that 
the preceding coat is thoroughly dry before spreading an- 
other. 

When two coats are to be applied, reduce the first coat 
with turpentine in the proportion of one pint turpentine to 
one gallon of paint. For second coat, apply as found in the 
package. 

Never add linseed oil to Best Prepared Porch and Floor 
Paint. A sufficient amount of linseed oil is ground in with 
rhc pigment when the paint is made. Any addition of linseed 



Practical Painting. 147 

Direct ions for Using The Heath & Milllgan Best Prepared Porch 
and Floor Paint — Continued. 

oil will retard the drying of the paint and allow dirt and dust 

to dry into it. 

Never add anything but turpentine as a thinner. 

if applied in accordance with directions and under fa- 
vorable drying conditions, each coat should thoroughly dry 
in 48 hours. 

Paint may be dry on the surface but by no means hard 
dry. Be especially sure that the first coat has thoroughly 
dried before applying the second. 



148 Heath & Milligan Mfg. Co., 

"CREOLITE." 
THE MOST PERFECT OF FLOOR PAINTS. 

A perfect combination of pigments and thinners, made 
to meet the demand for a quick-drying, durable paint for 
inside floors and stairs. Creolite is not intended for outside 
work. For outside porches and steps use Best Prepared 
Porch & Floor Paint, see Pages 146 and 147. 

For a quick-drying floor paint, two coats of a thin paint 
like Creolite will give far better results and produce a more 
durable finish than one or more coats of a heavy paint. 
Much depends on the surface, but if applied in accordance 
with directions, one gallon Creolite will cover 200 to 300 
square feet two coats. 

Creolite is put up in gallon, half-gallon and quarter- 
gallon cans. 

Creolite is made in ten practical shades, shown on sam- 
ple shade card. 

DIRECTIONS FOR USING CREOLITE, THE MOST PERFECT 

OF FLOOR PAINTS. 

Note information under the heading of ''Floor Painting." 
P.age 145. 

Prepare the surface and paint in accordance with direc- 
tions, Pages 131 to 134, inclusive. 

If the floor has been scrubbed, let it dry two or three 
days before painting. Oil and grease spots should be re- 
moved with turpentine. 

Apply Creolite as found in the package, spreading the 
paint evenly. 

Creolite is a thin paint and the first coat applied to bare 
wood will strike in and fill the surface, bringing out the 
full body, luster and color of the second coat. 

Always allow sufficient time for the undercoat to thor- 
oughly dry before applying a second or third coat of Creolite. 

When three coats are used, the second coat should be 
partially flatted by the addition of turpentine at the rate 
of 1-16 gallon turpentine to the gallon of Creolite. 

If applied in a temperature of about 75 degrees with a 
free circulation of air, Creolite will harden through in about 
12 hours. 

If a high-gloss finish is desired for living or bedrooms, 
apply two coats of Creolite and finish with a varnish coat 
mixture made with 1-3 Creolite and 2-3 Elastic Floor Var- 



Practical Tainting. 149 

Directions for Using Creolite, the Most Perfect of Flo<»r Paints- 
Continued, 
nish. This will make an exceptionally good wearing floor, 
and after it has stood irom four to five days the varnish 
can be lightly rubbed with fine sandpaper or steel wool and 
the floor waxed in the same manner as hardwood floors, or 
left in the gloss. 

Do not paint floors, then tightly close the room, and 
expect the paint to dry. It won't. 

Never use linseed oil in Creolite. If thinning is neces- 
sary, use turpentine only. 



150 Heath & Milligab Meg. < <>■■ 

-SUNSHINE" FINISHES FOR INTERIOR WORK ON FLOORS. 
WOODWORK AND FURNITURE. 

"Sunshine" Finishes are made of the highest grade of 
durable varnish and color so combined that when applied 
to a properly prepared surface they will perfectly produce 
natural wood effects. 

"Sunshine" Finishes embrace the height of durability, 
beauty, utility and easy working. 

"Sunshine" is as durable as it is possible to make a finish 
of this kind. It renders an elastic coating which withstands 
the hard usage to which floors and furniture are subjected. 

In beauty, "Sunshine" is unexcelled. It is made in 
ten rich and brilliant colors, which assortment permits of a 
choice of shades in keeping with any surrounding. 

In utility, "Sunshine" is unsurpassed. It is adaptable 
to every known class of interior woodwork, furniture, bric- 
a-brac, and especially adapted to floors, over which it makes 
one of the most durable and beautiful finishes it is possible 
to obtain. As a furniture and bric-a-brac finish it is the best 
article made. It gives a perfect finish to new work and 
makes old cracked and dingy surfaces look like new. 

"Sunshine" is so made as to be handled with ease, and 
if used according to directions the application is simple and 
results satisfactory. 

"Sunshine" is not affected by moisture and dries with 
a high luster. 

DIRECTIONS FOR USING "SUNSHINE" FINISHES. 

The preparation of the surface is the most important 
point to consider. It is not difficult to do satisfactory work 
if our directions are properly followed as to preparation of 
the surface and application of the finishes. 

The surface must be thoroughly cleaned, dried and sand- 
papered. Don't forget your duster. The work must not be 
hurried and ample time must be given for thorough drying 
between coats. On old work which requires touching up of 
spots or worn places, time must be allowed for such places 
to thoroughly harden before applying the finishing coats. 

It is not practical to finish new work of any class 

' without first filling or stopping the suction of the lumber 

before applying a varnish color. Due to uneven absorption 

\ of the lumber, a heavy \arnish coat can not be applied over 

an unfilled surface without showing heavy places, laps and 



Practical Painting. 151 

Directions for Using SUNSHINE Finishes— Continued, 
pitting, causing uneven drying and clouding of the grain, 
thus not producing a uniform transparent finish which is the 
desire in this class of work. 

For floors, the filler used should be very thin so that all 
pigment or coating can be easily wiped from the surface. 
If a heavy filler or coating is used, the varnish color can 
not penetrate into or bind itself to the wood and will not 
give a firm solid coating with uniform wear. Many com- 
plaints about floor finishes can be traced to cheap or heavy 
coats of filler. No matter how elastic or durable the var- 
nish may be, if it is not properly bound to the wood it can 
not withstand the severe Avear to which a floor is subjected, 
but will scratch, scuff and be easily affected through use. 

As a suitable filler for hard, close-grained wood we 
recommend a coat of "Sunshine" of the same color with 
which the work is to be finished, reduced 50 per cent with 
turpentine, or a coat of Natural "'Sunshine" reduced 50 per 
cent with turpentine. For hard, open-grained wood, the sur- 
face must first be filled with a natural shade of paste filler 
and when thoroughly dry treated in the same manner as 
close-grained wood. 

For soft pine or similar grained soft wood, the surface 
should be filled in the same manner as hard, close-grained 
wood, but the reduction should be at the rate of 25 per cent 
turpentine. "Sunshine" reduced and applied in this manner 
will give even, uniform wear, strike well into the wood, stop 
absorption and leave an elastic surface to which the finish- 
ing coat can successfully bind. 

Either of the fillers recommended by us will dry and be 
ready for sandpapering in 12 hours. When dry, thoroughly 
sandpaper to an even surface, being careful not to leave 
an excess of filler on any part of the work. 

White shellac can be used on any of the classes of lum- 
ber named if judgment is exercised in reducing and sand- 
papering. A heavy coat of shellac should not be used for 
undercoats on floors, as it leaves too brittle a foundation 
for an elastic finish. If shellac is used, reduce to a very 
thin consistency. When dry, the floor must be thoroughly 
sandpapered to remove all excess of shellac from the sur- 
face. 

On new work, to produce the effect shown on the sam- 
ple shade card, fill the surface with "Sunshine" of the shade 
with which the work is to be finished, reduced 50 per cent 
with turpentine. Apply one coat of "Sunshine" and finish 
With one coat of Natural "Sunshine." If the Natural "Sun- 



152 Heath & Milligah -Mfg. Co., 

Directions for Using SUNSHINE Finishes— Continued, 
shine" is used as a filler, reduce 50 per cent with turpentine 
and apply two coats of "Sunshine" of the shade desired. The 
latter will give a slightly deeper and fuller effect than shown 
on the sample shade card. For a lighter effect than is shown 
on the sample shade card, apply over the Natural ''Sunshine" 
filler one coat of "Sunshine" of the shade desired and finish 
with one coat of Natural "Sunshine." For a deeper effect than 
is shown on the sample shade card, fill the surface with 
"Sunshine" of the shade with which the work is to be finished, 
reduced 50 per cent Avith turpentine, and apply two coats of 
"Sunshine" of the shade desired. 

On old work which has been finished of a similar shade 
to the finish desired, apply one coat of "Sunshine" and finish 
with a coat of Natural "Sunshine." To produce the effect 
shown on the sample shade card when used over a suitable 
ground color, apply two coats of "Sunshine." For a natural 
finish on hard, close-grained woods, reduce the Natural 
"Sunshine" 50 per cent with turpentine. When hard dry, 
sandpaper thoroughly and apply a coat of Natural "Sun- 
shine" reduced 15 per cent with turpentine, and finish with 
Natural "Sunshine" as received in the package. 

Never apply less than two coats on a floor with a prop- 
erly filled surface. Shake the can thoroughly before opening 
and keep the mixture of a uniform consistency by frequent 
mixing. Keep the package tightly covered when not in use. 
Remember you are using a varnish color, and if thinning 
is necessary, use turpentine only. Do not try to change the 
shade by adding color in oil or japan. A deeper or lighter 
effect can be obtained by the manner of application. Do 
not try to rush any kind of work on floors. Remember the 
floor is to be walked over and the Finish should be thor- 
oughly hard before the floor is used. After the Finish has 
dried, mop the surface with clear cold water; this will assist 
in hardening. 

Don't attempt to cover at one time too wide a strip or 
stretch on floors. Start at one corner of the room and take 
a strip or stretch from 20 to 24 inches wide, cutting it up 
to a joint in the floor so as not to have a lap at the edge 
of the stretch. Always finish with a back lick towards the 
starting point; this will avoid making laps. After thor- 
oughly brushing "Sunshine," finish with a light stroke. 
Do not flow "Sunshine" on floors; brush out well and evenly. 

Note information as to the protection and treatment of 
new floors, given on Pages 112-113 and 121. 



Practical Painting. 153 

Directions for Using SUNSHINE Finishes— Continued. 
DIRECTIONS FOR NEW FLOORS. 

See that the floor is perfectly clean and well sand- 
papered. Remove finger and heel marks with turpentine. 
Fill the surface according to the class of wood. When the 
floors are ready to finish, fill all cracks and crevices with 
Ajax Crack and Crevice Filler. Sandpaper thoroughly, be- 
ing sure to remove any excess of Filler from the surface. 
Dust off carefully. Apply not less than two coats over 
this filled surface according to the depth of finish desired. 
Allow the undercoat to thoroughly harden, which, under 
good drying conditions, will require 24 hours. Sandpaper 
lightly or moss off and apply the finishing coat; to thor- 
oughly harden, this should be allowed to stand from 24 to 
48 hours, according to drying conditions. This will produce 
a full even gloss, and if desired can be rubbed to a flat 
finish. 

On old floors which have been covered with carpet, dress 
the joints down smoothly and evenly, sandpaper thoroughly 
and proceed asj with new work. 

DIRECTIONS FOR OLD FLOORS WHICH HAVE BEEN VAR- 
NISHED OR STAINED. 

"Sunshine" is transparent and will not give its true 
effect over a dark surface. Any of the shades shown may 
be used over light wood with natural finish or to refinish 
wood of corresponding color. 

Floors that have been varnished or stained should first 
be washed with warm water and washing soda or powder, 
then rinsed off with clear warm water and thoroughly dried 
with a cloth. Do not use scouring soaps, as they contain 
pumice stone, silica or like gritty substances that will get 
into cracks or rough places and work out through the finish 
when brushing, causing the work to be gritty, also klling 
the luster. When dry, sandpaper and wipe off with a cloth 
that has been dampened with turpentine. This will remove 
the dust, also any grease that may be left on the floor. 

If an oil polish has been used on the floor, thoroughly 
clean with water: then the floor should be thoroughly washed 
with turpentine to remove all of the oil or grease. 

If the floor has been previously waxed, the wax must be 
removed by thoroughly cleaning with steel wool and tur- 
pentine or wood alcohol. 

When the surface is thoroughlv dry, if there are worn 



154 Heath & Milligan Mfg. Co., 

Directions for Using SUNSHINE Finishes— Continued, 
places, exposing the bare wood, touch up with "Sunshine" re- 
duced as a tiller. This will even up the surface and make 
uniform work. The touching up should be done according 
to the previous tinish. If the previous finish is natural, touch 
up with Natural "Sunshine." If the surface was previously 
stained with a similar color, touch up with "Sunshine" of the 
color with which the floor is to be finished. When the 
touched-up spots are thoroughly dry, fill all cracks and 
crevices with Ajax Crack and Crevice Filler, sandpaper the 
whole surface and apply one or more coats according to the 
previous finish. If the floor was previously finished natural, 
two coats of "Sunshine" should be applied in order to bring 
out the full color. If previously stained and is in good con* 
dition, apply one coat of "Sunshine"; this can be finished 
with the coat of Natural "Sunshine" if desired. 

OLD PAINTED FLOOR. 

Where floors have 73een painted, wash with warm water 
and washing soda or powder, then rinse with clear warm 
water. When dry, fill the crack and crevices with Ajax 
Crack and Crevice Filler, sandpaper and apply one or more 
coats of Sunshine Ground Color, according to the condi- 
tion of the work, see page 155. It should be borne in mind 
that .for good work a clear ground color is necessary, and 
over, dark colored paint or old worn floors one coat is not 
sufficient. Allow ample time for the Sunshine Ground 
Color to harden through. Sandpaper between coats ; also 
before applying the Finish. Apply two coats of "Sunshine" 
over Sunshine Ground Color. 

More time is usually necessary for "Sunshine" to harden 
over paint than over bare or filled w T ood. 

CHAIRS, FURNITURE, ETC. 

Wash thoroughly with warm water and washing soda 
or powder, then rinse with clear water and dry with a 
cloth. If there is a possibility of grease, rub thoroughly 
with a cloth dampened in turpentine. 

If furniture polish has been used on the work, be care- 
full that this is thoroughly removed before applying "Sun- 
shine." Sandpaper w r ith No. y 2 or No. sandpaper and dust 
off, then touch up spots or worn places that expose the 
bare wood. When dry, sandpaper lightly and apply a coat 
of "Sunshine" over the entire surface. 



Practical Painting. 155 

Directions for Using SUNSHINE Finishes— Continued. 
TABLE TOPS AND LIKE SURFACES. 

The only satisfactory way to finish table tops that have 
received hard usage and the finish of which has turned 
white or spotted from hot dishes, is to remove all of the 
old finish with Wizard Paint and Varnish Remover. If hard 
wood, allow the remover to go only as far as the filler. I* 
a stained top, remove all of the old stain, wash thoroughly 
with benzine or turpentine and wipe dry- Sandpaper smooth 
with No. 1 sandpaper and apply a coat of "Sunshine" re- 
duced 50 per cent with turpentine. When dry, sandpaper 
lightly and apply a coat of "Sunshine" as received. When 
this is thoroughly dry, sandpaper or rub with curled hair 
and flow on a smooth even coat of Natural "Sunshine" 
This can be left in the gloss finish or rubbed and polished. 
"Sunshine" Finishes are put up in % pt, % pt, pt. and quart 
friction top cans, and % gal. and gal. square cork top cans, 
and larger packages when so ordered. 

SUNSHINE GROUND COLOR. 

Prepared to meet all the requirements of an undercoat for 
Sunshine Finishes which are to be applied over a dark painted, 
stained or worn surface. 

It dries hard and produces a smooth flat surface of a uni- 
form light color suitable as an undercoat for any shade of 
Sunshine Finishes. A ground color must be clear in order to 
produce a satisfactory effect with a stain. Over a dark 
painted or badly worn surface, two coats of Ground Color 
should be applied. Where two coats are used, the first coat 
sbould be reduced at the rate of one pint turpentine to the 
gallon of Sunshine Ground Color. When bard dry. apply a sec- 
one coat of the Sunshine Ground Color as found in the pack- 
age. If but one coat is to be applied, use as found in the 
package. See that the surface is dry, free from dirt and 
grease. Grease and oil stains should be removed with tur- 
pentine. Shake the can thoroughly before opening. Remove 
the full cover and mix contents thoroughly. If thinning 
should be necessary, use turpentine only. 

Never add linseed oil to Sunshine Ground Color. 

Put up in quarter-pint, half -pint, pint and quart friction- 
top cans, and half-gallon, and gallon round sealed-top pack- 
ages, and larger packages when so ordered. 



156 Heath & Milligan Mfg. Co., 

THE HEATH & MILLIGAN AJAX CRACK AND CREVICE 

FILLER. 

Ajax Crack and Crevice Filler is an improvement over 
the average crack and crevice fillers on the market and is 
in every sense of the word a perfect article for this class 
of work. It is a non-shrinkable. tough, clastic and adhesive 
compound for filling cracks, caused by shrinking of flooring, 
holes in boards, counters, desks, etc., and is also the most 
satisfactory article for filling cracks in decks and seams of 
all water craft. It can be easily applied and is thoroughly 
practical. 

Ajax Crack and Crevice Filler is made in a color which 
closely matches any ordinary surface: when necessary to 
match a particular shade, it can be colored by the addition 
of a little dry color. 

Ajax Crack and Crevice Filler dries quickly and suffi- 
ciently hard. It never dries brittle, thus cracking, but re- 
mains elastic. 

Ajax Crack and Crevice Fiiler is put up in 1. 2, 5 and 10 
pound cans; larger packages when so ordered. 

DIRECTIONS Fl~: USING THE HEATH & MILLIGAN AJAX 
CRACK AND CREVICE FILLER. 

The surface to be filled must be clean and dry. 

Remove all dirt from the cracks and crevices with a 
stick cut from hard wood, shaped to fit the opening, or 
with any tool which will best serve the purpose. 

Should there be any loose boards, they must be securely 
nailed or fastened down to insure a level surface on which 
to work. 

Remove the fricton-top cover of the package with a 
coin or nail; then take out a portion of the Filler and work 
it up with the hands, the same as you would putty. This 
will make it of a consistency which will allow of its being 
easily put into the cracks and crevices. 

Put the Filler directly into the cracks and crevices with 
the hand, or knife well in, bearing down with some force 
to insure its going clear to the bottom of the opening. After 
the cracks have been thoroughly filled, rub the hands over 
the surface, removing all surplus Fiiler and producing even- 
ness. Gather up all of the surplus Filler on the surface 
by bringing it in contact with the Filler that remains in the 



Practical Painting. 157 

Directions for Using The Heath & Milligan A.iax Crack and Crevice 

Filler — Continued. 

hand. In this way no Filler is wasted and the floor is kept 
clean. 

If a surface is rough and slivered, besides being cracked, 
it will be necessary to go over the entire .work with the 
Filler, after which the surface should be rubbed with burlap 
or rough cloths in order to remove all surplus Filler and 
produce an even ground. 

Do not attempt to varnish or finish a surface in any 
manner after the Filler has been applied until it has had 
ample time to dry. 

If the wood to be filled is dark, the Filler can be tinted 
to suit the case by the addition of dry coloring matter. 

Should Ajax Crack and Crevice Filler require moisten- 
ing, add a very small quantity of turpentine. 

When not using the Filler, always keep the can closed 
by placing the friction-top cover back into place. 



158 Heath & Milligak Mfo, ( <>.. 



THE HEATH & MILLIGAN STOCK WHITE. 

This is a heavy bodied prepared paint intended for prac- 
tical painters' use. Every well-regulated paint shop has at 
all times in the mixing keg lead, zinc or other pigments 
mixed to a semi-paste consistency with oil. This is for 
convenience in tinting or to be reduced with either oil or 
turpentine. 

In our Stock White we have a product which is of the 
right consistency for tinting, also can be reduced with 
either oil or turpentine to produce a gloss or flat finish as 
desired. It has an advantage over a hand-mixed product 
in being more thoroughly incorporated, containing the cor- 
rect amount of the right kind of Japan; in being of the 
same consistency at all times and being put up in convenient 
sized packages. 

A few advantages of Stock White are: 

It is always ready for use; saves time of mixing; can 
be used for inside or outside work; is always reliable; is 
made of the proper materials to hide the surface; works 
right, and can be hrushed out. 

Stock White is put up in agitator barrels, half-barrels, 
five-gallon buckets and one-gallon cans. 



Practical Painting. 159 



TRE HEATH & MILLIGAN BEST PATENT DRYER. 

A paste dryer especially adapted for use in white and 
light tints. It is practically colorless and will not stain 
white paint like the ordinary Manganese Japans. 

One pound of Best Patent Dryer reduced according to 
directions is equal to one pint of the best turpentine japan 
when used in white or light tints. 
DIRECTIONS FOPv REDUCING: 

1 pound Best Patent Dryer, reduced with 
1 pint Turpentine. 

In breaking up Best Patent Dryer, supply a mixing cup 
large enough to hold the required amount of Dryer. The 
full amount should be put into a mixing cup and thoroughly 
beaten; then add a small amount of turpentine and beat 
this into the Best Patent Dryer, again adding a small amount 
of turpentine, and repeat the operation. When mixed to a 
paste consistency, the balance of turpentine may be grad- 
ually added until all is in the mixture. Best Patent Dryer 
mixed in this way will not be lumpy nor necessitate 
straining. 

Where we give directions to use a given amount of Best 
Patent Dryer in reducing The Heath & Milligan Products, 
the amount of turpentine used in reducing the Best Patent 
Dryer must be deducted from the amount of turpentine rec- 
ommended for the reduction of the paint. 

Never add linseed oil to Best Patent Dryer. 

Never add benzine to Best Patent Dryer. 

Turpentine is the only reducer which should be used. 

Best Patent Dryer is put up in 1, 2, 3, 5. 10 and 25 pound 
cans and 100 pound kegs. 



160 Heath & Milligax Mfg. Co.. 

THE HEATH & MILLIGAN RAILWAY WHITE LEAD. 

(Trade -.Mark.) 

Railway White Lead is superior in every respect and 
for every purpose to any other brand of white lead: espe- 
cially is its superiority prominent in the perfect surface it 
leaves for repainting, one of the most important require- 
ments) of a paint. 

Railway White Lead covers more surface than strictly 
pure carbonate of lead and exceeds it in durability at least 
50 per cent, besides producing a finer and more beautiful 
finish. It takes a larger percentage of oil than carbonate 
of lead, which fact makes a considerable saving in expense. 

Railway White Lead will give perfect satisfaction, pro- 
vided it is properly applied over a surface in condition to 
receive paint and is thinned according to directions. 

No definite rule can be given for the exact amount re- 
quired, as all depends upon the surface to be painted. Three 
and one-half pounds of Railway White Lead, reduced accord- 
ing to directions under normal conditions, will cover one 
square (100 square feet) two coats. 

Railway White Lead is put up in 250 and 500 lb. casks: 
12i4, 25, 50 and 100 lb. kegs, and in 12V 2 and 25 lb. tins when 
so ordered, also in 1 to 5 lb. cans. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN RAIL- 
WAY WHITE LEAD. 

(Note general directions, pages 131 to 134, inclusive.) 
DO NOT APPLY THE PAINT TOO HEAVILY. Use 
plenty of "elbow grease/' The paint must be thoroughly 
rubbed in or brushed out. DO NOT USE A CHEAP PRIMER. 
More jobs are spoiled by the use of a cheap primer than in 
any other way. 

Allow plenty of time for drying. Paint may be surface 
dry and be by no meaus dry through. Sufficient time must 
be allowed for each coat to thoroughly harden through be- 
fore the next coat is applied. 

DIRECTIONS FOR REDUCING THE HEATH & MILLIGAN 
RAILWAY WHITE LEAD. 

For the amount of paint required for a given surface, 
note information given above. 

Prepare the surface and paint in accordance with gen- 



Practical Painting. 161 

Directions for Reducing The Heath & Millifjan Railway White 

Lead — Continued. 

eral directions, pages 131 to 134, inclusive. 

It is impossible to give a general rule applying to all 
surfaces. If the surface is old or weather-beaten, more 
oil must be used than if it is new, hard or non-absorbent. 

The following directions are for surfaces in normal 
eonditions, viz.: Lumber of the average run in quality, grain, 
sap and dryness. 

Always use raw linseed oil and turpentine for priming 
and second or middle coats. 

Never use boiled linseed oil unless it may be for finish- 
ing coat. 

The following amount of reducer is figured for white 
and light shades. Where darker shades are made, a propor- 
tionate amount of thinner must be added according to the 
color. 

TWO-COAT— NEW WORK 
PRIMER. 

For Hard Pine, Cypress, Hemlock, Oregon Pine, Ash, 
Chestnut and Oak, reduce as follows: 

100 pounds Railway White Lead. 

5 gallons Raw Linseed Oil. 
V/2 gallons Turpentine. 

y s gallon Turpentine Japan. 
For White Pine, Poplar. Gum, Spruce. Birch, Kim and 
Maple: 

100 pounds Railway White Lead. 

5% gallons Raw Linseed Oil. 

:; 4 gallon Turpentine. 

% gallon Turpentine Japan. 
For Cottonwood, Basswood and Oregon Fir: 

100 pounds Railway White Lead. 

6 gallons Raw Linseed Oil. 
l. gallon Turpentine. 

!/4 gallon Turpentine Japan. 
For Cedars and Redwood: 

100 pounds Railway White Lead. 

6 1 /-? gallons Raw Linseed Oil. 

% gallon Turpentine. 

Vs gallon Turpentine Japan. 
Allow 14 to 18 days, according to weather conditions, for 
the priming coat to thoroughly dry. 

Putty all nail holes and cracks between priming and 
finishing coats. 



162 Heath & Mji.i.m.ax Mfg. Co., 

Directions for Reducing The Heath & Mifligan Railwaj White 

Lead— Continued. 

The finishing coat reduce as follows: 
100 pounds Railway White Lead. 
4% gallons Raw Linseed Oil. 
Yi gallon Turpentine Japan. 

THREE COAT-NEW WORK. 
PRIMER. 
For Hard Pine, Cypress, Hemlock, Oregon Pine, Ash, 
Chestnut and Oak, reduce as follows: 

100 pounds Railway White Lead. 
5% gallons Raw Linseed Oil. 
1*4 gallons Turpentine. 
% gallon Turpentine Japan. 
For White Pine, Poplar, Gum, Spruce, Birch. Kim and 
Maple: 

100 pounds Railway White Lead. 

6 gallons Raw Linseed Oil. 
% gallon Turpentine. 

y s gallon Turpentine Japan. 
For Cottonwood, Basswood and Oregon Fir: 

100 pounds Railway White Lead. 

QVo gallons Raw Linseed Oil. 

Yi gallon Turpentine. 

Ys gallon Turpentine Japan. 
For Cedars and Redwood: 

100 pounds Railway White Lead. 

7 gallons Raw Linseed Oil. 
% gallon Turpentine. 

Ys gallon Turpentine Japan. 
Allow 14 to 18 days, according to weather conditions, 
for the priming coat to dry. 

Putty all nail holes and cracks "between primer and sec- 
ond coat. 

For second or first coat over primer reduce 
100 pounds Railway White Lead. 
4% gallons Raw Linseed Oil. 
% gallon Turpentine. 
Y± gallon Turpentine Japan. 
Allow 6 to 10 days, according to weather conditions, for 
the middle coat to thoroughly dry. Reputty if necessary 
after this coat. 

Finishing- coat reduce as follows: 

100 pounds Railway White Lead. 
5% gallons Raw Linseed Oil. 
Yx gallon Turpentine Japan. 



Practical Painting. 163 

Directions for Reducing The Heath & Milligan Railway White 

Lead— ContiHaed. 

FOR PAINTING OLD WORK. 

No definite rule covering reductions can be given, the 
amount of oil necessary depending- upon the condition of the 
surface to be painted. Old or weather-beaten surfaces re- 
quire more oil than hard or non-absorbent surfaces. 

DIRECTIONS FOR TWO-COAT WORK UNDER NORMAL CON- 
DITIONS. 
FIRST COAT. 

Reduce as follows: 

100 pounds Railway White Lead. 
4% gallons Raw Linseed Oil. 
% gallon Turpentine. 
y± gallon Turpentine Japan. 
Allow six to ten days to dry, according to weather con- 
ditions. Putty ali nail holes and cracks between primer and 
second coat. 

SECOND OR FINISHING COAT. 
Reduce as follows: 

100 pounds Railway White Lead. 
5% gallons Raw Linseed Oil. 
14 gallon Turpentine Japan. 

DIRECTIONS FOR INSIDE FINISHING. 

(Where Best Patent Dryer is recommended, use in ac- 
cordance with directions on page 159.) 

FOR HALF FLAT FINISH. 

Reduce as follows for both primer and finishing coats: 
100 pounds Railway White Lead. 
214 gallons Turpentine. 
1 gallon Raw Linseed Oil. 
1 pound Best Patent Dryer. 

FOR EGGSHELL GLOSS : 

Prime as noted before for Half Flat Finish, reducing the 
finishing coat as follows: 

100 pounds Railway White Lead. 

2% gallons Turpentine. 

y 2 gallon Raw Linseed Oil. 

l" pound Best Patent Dryer. 

FOR FLAT FINISH: 

Three coats are necessary, reduced as follows: 

PRIMER: 

100 pounds Railway White Lead. 



1*14 Heath & Milligax Mrc;. ( <>.. 

Directions for Reducing The Heath & Milligau Hallway White 

Lead— Continued. 

2% gallons Turpentine. 

14 gallon Kinv Linseed Oil. 

1 pound Best Patent Dryer. 

SECOND COAT OR FIRST COAT OVER PRIMER: 

100 pounds Railway White Lead. 

2% gallons Turpentine. 

1 pound Best Patent Dryer. 

1-16 to y 8 gallon White or Enamel Varnish. 
FINISHING COAT: 

100 pounds Railway W T hite Lead. 

2% to 2% gallons Turpentine. 

1 pound Best Patent Dryer. 

1-16 to y 8 gallon White or Enamel Varnish. 
FOR A DEAD FLAT FINISH: 

Prime and second coat as for flat finish, and reduce 
the finishing coat as follows: 

100 pounds Railway White Lead mixed to a semi-paste 
consistency with one gallon Turpentine. 

Pour over the top of the mixture ^4 gallon Turpentine 
and allow it to stand over night; the next morning pour off 
the accumulated thinners from the top of the paint, then add 

2 gallons Turpentine. 

y 2 pound Best Patent Dryer. 
1-16 to Ys gallon White or Enamel Varnish. 
This will keep the paint from flying or spattering and 
will produce a dead flat finish. 



Pbactical Painting. 165 

THE HEATH & MILLIGAN BEST COLORS IN OIL, DOUBLY 
GROUND IN PURE LINSEED OIL. 

Each individual color is ground according to its nature, 
regardless of being doubly ground to insure full strength 
of color. 

In all respects The Heath & Milligan Best Colors in Oil 
are the best on the market. That they are satisfactory is 
shown by the fact that they are used by expert painters in 
practically every city and town in the United States. 

Colors in Oil are primarily house painters' tinting colors. 
In connection with the white base used they form for him 
a practically unlimited line of colors which will bring out 
any artistic or decorative design he may have in view. 

Every color used for this purpose has a distinct field 
of usefulness all its own. In bringing out the best results 
there is required the high degree of artistic excellence which 
distinguishes the expert painter. 

It is always best to use one color alone, if possible, for 
the purpose of bringing about the desired result: as much 
expertness is needed in the proper use of one color as in a 
combination of colors in bringing about the desired result. 
It is also necessary for the expert w r orkman not only to 
make a critical examination of each of the colors he will 
need in the work, but also to learn the composition of each 
as far as possible and thus save many a failure. 

Yellow, red and blue are primary colors. In combina- 
tion with white they will theoretically make every shade. 
It is necessary, however, to use black and white frequently, 
and practically it is not possible to produce every shade 
artificially with the use of the three colors noted in connec- 
tion with black and white. Nature has made good this de- 
ficiency, however, by a number of natural earth pigments 
which must be constantly used in matching tints. It is 
possible to produce the tint of practically any of these earth 
pigments by combinations of yellow, red, blue, white and 
black, but such tints, made from a combination of colors, 
will not have the same soft, true tone that the natural earth 
pigment properly used will produce. 

It is a mistake to figure that the test of Colors in Oil 
lies wholly in their strength. This, of course, is perhaps 
the leading point in excellence, as it involves an economical 
use of paint pigments by the painter. It very frequently 
happens, however, that it is of more importance to produce 
a clear characteristic color and one which will retain the 



166 IlKAIIl & MlLLIGAN MFG. Co., 

The Heath & Milligan Best Colors in Oil, Doubly Grouml in Pure 
Linseed Oil— Continued. 

same tone from the deepest to the lightest tint. 

This point is of special importance to the grainer and 
stainer. In addition to strength and tone the richness and 
fullness of the body must be considered and also the trans- 
parency and depth of undertone. 

It is impossible here to put down hard and fast rules 
for the use of Colors in Oil. Our booklet, "A Treatise on 
Best Colors in Oil, Supplemented by Color Chart," gives a 
short treatise on each color and is gladly furnished on re- 
quest to practical painters only. 

The design of this treatise on Colors in Oil is to aid oul 
friends in a threefold direction. 

FIRST: By giving a brief outline of the composition, 
source and method of manufacture of the more important 
of these colors. 

SECOND: To make a selection of the most useful colors 
or shades of each class with especial reference to strength, 
durability and practical utility. These colors have been 
considered both singly and as a complete line, each supple- 
menting the other and yet having a definite place which 
nothing else can supply as well. 

THIRD: To indicate, both by a carefully arranged color 
chart and by direction, the more common uses to which each 
of the different colors can be best put, leaving of course to 
the skill and experience of the trained painter and decorator 
the selection of those colors best suited to the work in hand. 



Practical Painting. 167 



THE HEATH & MILLIGAN CRYLIGHT GREEN. 

Crylight Green has been a standard color for over thirty 
years. On account of its brilliancy, permanency and cover- 
ing properties, it is the foremost of window blind greens. 

Crylight Green is made in three shades, Light, Medium 
and Dark, and is put up in 1, 2, 3', 5, 10 and 25 iK>und cans. 

Greens are not fillers and should never be used on bare 
wood, but should always be used over a suitable priming 
coat. 

Where one coat of Green is to be used over a primer, 
the primer should be tinted to a greenish cast to insure 
proper covering. 

Olive Best Prepared Paint makes a suitable primer for 
either Crylight Green in Oil or Crylight Green Best Prepared 
Paint. 

If Olive Best Prepared Paint is used as a primer, it 
should be reduced for either two or three coat work accord- 
ing to the lumber over which it is to be applied, following 
directions on page 140. 

If two-coat work, apply Crylight Green in Oil reduced as 
follows: 

10 pounds Crylight Green in Oil. 
7-16 gallon Paw Linseed Oil. 
1-32 gallon Turpentine. 
1-32 gallon Turpentine Japan. 

If three-coat work and two coats of Green are to be 
applied, the middle coat should be further reduced with 
turpentine. 

If Crylight Green Best Prepared Paint is used, prime 
with Olive Best Prepared Paint reduced according to direc- 
tions. 

If one coat of Green is to be used over a primer, apply 
Crylight Green Best Prepared Paint as received in the pack- 
age, after thoroughly mixing. 

If three-coat work, reduce the primer according to direc- 
tions for three-coat work and apply the second or middle 
coat of Crylight Green Best Prepared Paint reduced at the 
rate of V s gallon turpentine to one gallon of paint. Apply 
the finishing coat as received in the package. 

It is always safe to figure one pound of Best C Irylight 
Green in Oil to paint one pair of average sized blinds one coat. 



168 Heath & Mii.i.k.an \1 it;. Co., 



THE HEATH & MILLIGAN PERMA RED. 

This product is a totalisation of the color-maker's aim, 
viz.: to produce a permanent, rich-bodied lake within the 
means of the average consumer. 

Vastly superior in permanency and lasting brilliancy 10 
the ordinary reds or vermilions. 

Intended for painting store fronts, advertising signs, front 
doors, sashes, lawn seats, chairs, etc. 

Best Perma Red should be reduced to a heavy con- 
sistency, applied in the same manner as any oil color and 
well brushed out. 

To produce the best results as to permanency and hril- 
liancy two coats are recommended— the undercoat mixed 
half flat. 

If a new surface, the priming coat should be of red or 
dark terra cotta. If one coat only is used, the effect de- 
pends upon the undercoating. 

The color will show lighter if applied over terra cotta, 
while darker if applied over a deep red. 

Do not apply Best Perma Red over a white or light col- 
ored ground. 

While classed as a permanent color in the solid, Best 
Perma Red in Oil should never be used in combination with 
white to produce tints, as in such a combination it loses its 
permanency. 

Perma Red in Japan should be handled in the same man- 
ner as any other japan color. It dries quickly, flats per* 
fectly and possesses the necessary binding properties. It 
should be thinned with turpentine only and applied over a 
suitable flat ground color. 

Perma Red, dry, is especially adapted to fresco work, 
either as a solid color or in making calcimine or fresco tints. 

Best Perma Red in Oil is put up in 1, 2, 5, 10 and 25 
pound cans and 100 pound kegs. 

Perma Red in Japan is put up in 1, 2, 5 and 10 pound 
cans; also 5 and 10 pound patent press cans. 

Perma Red is sold dry in 6 pound cans; 100 pound kegs; 
also bulk lots in any quantity. 



Practical Tainting. 169 

THE HEATH & MILLIGAN IXL ROOF AND BARN PAINT. 

IN LIQUID FORM. 

The Heath & Milligan IXL Roof and Barn Paint is made 
especially for use on barns, roofs, fences, bridges, cars, 
grain elevators, factories and large structures of all kinds 
on which a first-class mineral paint should be used. 

The Heath & Milligan IXL Roof and Barn Paint is a 
combination of pure mineral colors, linseed oil and the neces- 
sary dryers. It is a paint, not a stain. It does not contain 
resin, coal tar nor other ingredients which are sometimes 
used to cheapen paint. It is a strictly high-grade paint. 
made with special consideration of durability, appearance 
and preserving qualities. The same care and process are 
used in its manufacture as in making The Heath & Milligan 
Best Prepared Paint. 

Hand-mixed dry mineral and linseed oil will net make 
a lasting, protecting paint. Power is absolutely necessary 
to combine the pigments and the oil; this we accomplish by 
machinery with a crushing weight of 2,200 pounds to the 
square inch and extra fine grinding through special mills, 
thus thoroughly driving the oil into the pigment. Where 
dry pigments and oil are mixed by hand or with light 
machinery, only the outside particles of the pigment are 
coated with oil. When such paint is applied to a surface, 
the absorption on one side and the atmospheric action on the 
other soon draw the oil away from the pigment or destroy 
it. This leaves the dry pigment on the surface without a 
binder and it is easily washed off. 

For painting roofs, either tin or shingle, IXL Roof and 
Barn Paint more than pays for itself as a preventive of 
decay and leaks. Shingles can not warp when covered with 
it and their life in more than tripled if dipped in the paint 
before being laid. 

The Heath & Milligan IXL Roof and Barn Paint is made 
in seven suitable shades, shown on the sample shade card. 
It is put up in barrels, half barrels, five-gallon buckets and 
one-gallon cans. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN IXL 
ROOF AND BARN PAINT IN LIQUID FORM. 

(Carefully note General Directions, Pages 131 to 134, in- 
clusive.) 

In all cases prepare the surface and the paint in accord- 
ance with directions. 



170 Heath & Milligan ]\1fo. Co., 

Directions for Using The Heath & Milligan IXL Roof and Barn 
Paint in liquid Form— Continued. 

For the amount of IXL necessary for a given surface, 

see Page 129. 

BARNS, WOODEN BRIDGES, FENCES, ETC. 

Reduce IXL for the priming coat with 25 per cent pure 
raw linseed oil. Allow plenty of time for this coat to dry 
and for second coat use IXL as found in the package. 

No definite rule can be given as to the amount of paint 
required, all depending upon the condition of the surface to 
be painted. For old or weather-beaten wood more oil is 
required than for non-absorbent woods. 

SHINGLE ROOFS. 

Never paint damp shingles. To get the best results they 
must be perfectly dry. Work the paint well into the cracks. 

NEW SHINGLES. 

The first coat should be reduced with 25 per cent pure 
raw linseed oil. Allow plenty of time for this coat to harden 
through. For second coat use IXL as found in the package. 

FOR OLD OR WEATHER-BEATEN SHINGLES. 

No definite figures can be given for the amount of paint 
required. Old shingles will absorb more oil than new ones; 
the cracks are much more numerous. 

For old shingles, reduce the first coat with at least 50 
per cent pure raw linseed oil. Allow this coat to harden 
through. For the second coat use IXL as found in the 
package. 

FOR DIPPING SHINGLES. 

After thoroughly mixing, reduce 1 gallon IXL with 1 
gallon pure raw linseed oil. 

Shingles should be dipped at least 11 inches. This gives 
4M? inches to the weather and 6^ inches for the underlap. 

Two gallons of IXL, used in accordance Avith directions, 
will coal 1.000 regulation sized shingles, dipped at least 11 
inches. 

When the shingles are laid, finish with one coat of IXL 
as found in the package. 

FOR TIN ROOFS, SPOUTS AND METALLIC SURFACES. 

(Note information given under the heading of "Painting 
Galvanized Iron, Pages 108 and 109. 

For all first coats on tin, iron or other metal, reduce IXL 



Practical Painting, 171 

Directions for Using The Heath & Milligan IXL. Roof and Barn 
Paint in Liquid Form— Continued. 

with turpentine at the rate of % gallon turpentine to a gallon 
of IXL. Do not apply a heavy first coat, the lighter the 
better, provided it covers the surface. 

After letting the tirst coat dry hard, apply the second 
coat of IXL as found in the package. 

FOR BRICK AND STONE WORK. 

After cleaning the surface, apply a priming coat of IXL 
reduced with 25 to 50 per cent pure raw linseed oil, accord- 
ing to the porosity of the surface. Old brick and stone will 
absorb more oil than new. Apply a finishing coat of IXL 
as found in the package. 

IN GENERAL. 

Never use a cheap primer. L T se IXL for the prirnin.n 
coat as noted. More jobs are spoiled by cheap primers than 
in anv other way. 

NEVER USE BOILED LINSEED OIL IN IXL. 

NEVEPv ADD JAPAN TO IXD— it carries the right 
amount of oxidizer to insure proper drying. 



172 HEATTL & MlLLKiAK Mro Co., 



THE HEATH & MILLIGAN MOSS GREEN ROOF PAINT. 

This is a strictly high-grade paint, embodying the maxi- 
mum of durability, richness and preserving- qualities. 

Does not fade. 

Preserves the shingles and makes them absolutely 
weatherproof. 

More than pays for itself as a preventive of leaky roofs. 
Shingles can not warp when covered with it. 

It is a paint, not a stain. 

Use in accordance with directions and information given 
under the heading "IXL Roof and Barn Paint,'' Pages 169 to 
171, inclusive. 

Moss Green Roof Paint is of the same quality as our P>est 
Prepared Paint and while especially designed for roofs it 
can be used on any exterior work. 

Put up in barrels, 50 gallons; half -barrels, 25 gallons; 
five-gallon buckets and one-gallon cans. 



Practical Painting. 17: x . 

THE HEATH & MILLIGAN DURABLE FLAT BRICK RED 

IN PASTE FORM. 

Makes a perfect imitation of pressed brick on any brick 
wall when thinned with turpentine and applied over a suit- 
able undercoating. It dries perfectly flat in from two to 
three hours when thinned according- to directions. Rain will 
not injure the Flat Brick Red surface after it has dried. 

UNDERCOATINGS OF OIL PAINT MUST BE USED. 

We recommend as the best undercoatings H. & M. IX L 
Venetian Red Roof and Barn Paint or H. & M. Best Venetian 
Red in Oil, reduced with pure raw linseed oil and turpentine. 

Never use a dry color mixed by hand for an undercoat, 
and especially NEVER USE A CHEAP PRIMER. 

The durability of Flat Brick Red depends on the under- 
coatings. 

If the brick surface is porous, more oil must be used in 
the priming coat. Old bricks are much more porous and 
absorb more oil than when new. Remember this point 
especially: use more oil in the priming coat if the brick sur- 
face is porous. 

Tiie Heath & Milligan Durable Flat Brick Red is put up 
in 100 pound kegs; 10 and 25 pound cans. 

The directions for priming are for ordinary surfaces. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN DURA- 
BLE FLAT BRICK RED. 

The surface must be dry and free from moisture. 
Allow all undercoatings to become perfectly dry and 
harden through before subsequent coats are applied. 

UNDERCOATINGS. 

For ordinary surfaces, where IXL Venetian Red Roof 
and Barn Paint is used for the undercoatings, note general 
directions, Pages 131 to 134, inclusive. 

Prepare the surface and paint in accordance with direc- 
tions. Reduce as follows: 

1 gallon IXL Roof and Barn Paint. 
V/o pints Raw Linseed Oil. 
]i| pints Turpentine. 
To ascertain the amount of IXL required for a given 
surface when used for undercoatings. figure one gallon, re- 
duced according to directions, to cover 200 to 400 square feet, 



174 Heath & Milugan Mfg Co., 

Directions for Using The Heath & Milligan Durable Fl.n Brick R' d 

Continaed. 

according to the porosity of the surface. 

For the second coat use I XL as found in the package. 
If H. & M. BEST VENETIAN RED IN OIL is used for the 
undercoating, reduce as follows for the first coat: 

100 pounds H. & M. Best Venetian Bed in Oil. 
o 1 /? gallons Raw Linseed Oil. 
% gallon Turpentine. 
^4 gallon Turpentine Japan. 
For the second coat reduce II. & M. Best Venetian Bed 
in Oil as follows: 

100 pounds H. & M. Best Venetian Bed in Oil. 
5 gallons Baw Linseed Oil. 
% gallon Turpentine. 
y^ gallon Turpentine Japan. 
To ascertain the amount of Best Venetian Bed in Oil 
required for a given surface when used for uudercoatings. 
figure 2% to 3M> pounds, reduced according to directions, to 
cover 100 square feet, two coats. 

Allow five to eight days, according to weather condi- 
tions, for each undercoating to harden through. 

FINISHING COAT. 

Two pounds Durable Flat Brick Bed, reduced according 
to directions and applied over a suitable undercoating, will 
cover a square. 

In mixing, add a small amount of turpentine to Durable 
Flat Brick Bed and beat this up to> a smooth paste. Then 
gradually add more turpentine and continue mixing in ac- 
cordance with the following until the full amount of the 
reducer is added. If mixed in this way the paint will not 
be lumpy. 

For the finishing coat, reduce Hi & M. Durable Flat 
Brick Red in the following proportions: 

100 pounds H. & M. Durable Flat Brick Bed. 
5 gallons Turpentine. 

In mixing the flat color, do not mix more than will be 
used in one day. 

Keep the mixing keg tightly covered and out of the sun. 

All the work must be gone over at one time, as Flat 
Brick Red dries very quickly and cannot be touched up 
without showing spots. 

At the end of a stretch cut around the brick on the 
mortar joints; also follow the joint at the bottom of the 
stretch. Cut in and do not lap over on the finished part, as 



Practical Painting. 17s 

Directions for Using The Heath & Milligan Durable Flat Brick Red 

Continued. 

this will show and dry with a gloss. 

NEVER USE BOILED LINSEED OIL IN THE UNDER- 
COATINGS. 

NEVER REDUCE FLAT BRICK RED WITH BENZINE. 
PURE SPIRITS OF TURPENTINE IS THE ONLY THINNER 
THAT SHOULD BE ADDED. 

Durable Flat Brick Red can be tempered with a small 
amount of raw linseed oil or japan if used with judgment. 



176 Heath & Milligah Mfg. Co., 

THE HEATH & MILLIGAN BEST GRAPHITE PAINT IN 
LIQUID AND PASTE FORMS. 

The Heath & Milligan Best Graphite Paint is made in 
the two forms noted in order to meet all requirements. 

When reduced in accordance with directions, Best 
Graphite Paint in Paste Form is to be used in exactly 1h<' 
same way as Best Graphite Paint in Liquid Form. 

Best Graphite Paint is especially adapted for painting 
iron structures, roofs, bridges or any similar surface requir* 
ing an extremely durable coating. It can be used on wood, 
but is especilly recommended for metal. 

High-grade graphite, such as is used in Best Graphite 
Paint, is unaffected by acids, alkalies or atmospheric gases. 
It makes a protecting coat of great durability and one which 
will withstand a maximum amount of heat. It is thus espe- 
cially serviceable on smokestacks, boiler fronts or similar 
surfaces, which come in contact with extreme heat. 

Graphite is of a grea'sy nature and where two coats are 
used the undercoat must be partly flatted Avith turpentine, 
otherwise the paint will sag or run. Graphite can not bo 
applied over a glossy surface with satisfactory results. It 
is naturally a slow dryer and plenty of time must be given 
for drying. It has great body and must be well rubbed out 
under the brush and not flowed on. 

In order to make Graphite dry quickly, do not burn the 
color or destroy its elasticity with an excess of japan. Give 
it time to dry. 

Best Graphite Paint is sold only in the natural shade 
which is deep slate color, as shown on the sample shade card. 

To ascertain the amount of Best Graphite Paint in Paste 
Form required to paint a metallic surface, it is safe to figure 
that two pounds, reduced according to directions, will paint 
100 square feet, one coat. 

Best Graphite Paint in Paste Form is put up in barrels, 
half-barrels, 100 pound kegs, and in 12V. and 25 pound cans. 

To ascertain the amount of Best Graphite Paint in 
Liquid Form required to paint a metallic surface, it is safe 
to figure that one gallon will cover 600 square feet, one coat. 

Best Graphite Paint in Liquid Form is put up in barrels, 
half -barrels, live-gallon buckets and one-gallon cans. 



Practical Painting. 177 

DIRECTIONS FOR USING THE HEATH & MILLIGAN BEST 
GRAPHITE PAINT IN LIQUID FORM. 

(Carefully note General Directions, Pages 131 to 134, in- 
clusive.) 

In all cases prepare the surface and paint in accord- 
ance with directions. 

(Note information given under the heading of -Paint inn 
Galvanized Iron," Pages 108 and 109. 

Note carefully the instructions relative to grease and oil 
stains being removed with turpentine or benzine. This is 
especially necessary on new metallic surfaces which have 
become coated with grease, acids or rosin in the process of 
manufacture. One or two hard rains will usually remove 
these substances. They must be removed or no paint com- 
posed entirely of linseed oil and pigments will adhere to 
the surfaces. In general, use a small quantity of turpentine 
in thinning the paint for such a surface. 

The best results in painting tin or galvanized iron can be 
obtained by first thoroughly cleaning the surface, applying 
a first coat of IXL Roof and Barn Paint, according to direc- 
tions for tin and metallic surfaces, Pages 170 and 171. Then 
coat with Best Graphite Paint. 

Heavy coats of paint should never be applied to tin 
or galvanized iron; otherwise the paint is very apt to blister 
or peel. 

Where one coat only is to be applied, Best Graphite Paint 
in Liquid Form should be used as found in the package, 
after thoroughly mixing. 

FOR TWO COAT WORK. 

FIRST COAT: 

Thin in the proportion of a quarter-gallon spirits of 
turpentine to a gallon of Best Graphite Paint in Liquid Form. 
FINISHING COAT: 

Apply as found in tbe package, after thoroughly mixing. 

DIRECTIONS FOR THINNING THE HEATH & MILLIGAN 

BEST GRAPHITE. 

PAINT IN PASTE FORM. 

(Carefully note General Directions, Pages 131 to 134, in- 
clusive.) 

In all cases prepare the surface and paint in accordance 
with directions. 



178 Heath & Milligak Mitg. Co., 

Directions tor Thinning The Heath & Milligas Best Graphite Paint 
in Paste Form— Continued. 

Provide a mixing keg of the proper size to hold all the 
paint needed for each coat, allowing room for stirring. 

Thoroughly break up and mix Best Graphite Paint in 
Paste Form with a broad, flat paddle, in accordance with 
following directions: 

Keep the paint from skinning over by tightly covering 
the mixing keg when not in use. The best method is to 
use a piece of heavy canvas forced tightly over the head 
of the mixing keg with a hoop. 

FOR TWO COAT WORK. 

FTP ST COAT: 

Reduce in the following proportions: 

100 pounds Best Graphite in Paste Form. 
5% gallons Pure Boiled Linseed Oil. 
1 gallon Turpentine. 

FINISHING COAT: 

Reduce in the following proportions: 

100 pounds Best Graphite 4n Paste Form. 
6% gallons Pure Boiled Linseed Oil. 

J A gallon Turpentine. 

FOR ONE COAT WORK. 

Use Best -Graphite Paint in Paste Form, reduced in the 
following proportions: 

100 pounds Best Graphite in Paste Form. 
6% gallons Pure Boiled Linseed Oil. 
y± gallon Turpentine. 

The use of boiled linseed oil in reducing Best Graphite 
Paint in Paste Form is practically the only exception to the 
ride against its use. 



Practical Painting. 179 

THE HEATH & MILLIGAN OIL WOOD STAIN IN LIQUID 

FORM. 

A combination stain and tiller for close-grained wood. 

For use on bare wood or over a suitably prepared sur- 
face which has been painted, stained or varnished. 

Note information given under the heading of '"Staining" 
as to the preparation of the surface and application of the 
Stain.. Pages 120 and 121. 

Shake the can vigorously before opening. Remove the 
full head of the package and thoroughly stir the contents. 

Oil Wood Stain is a pigment stain, and owing to the 
small amount of pigment used to produce the color, it is 
doubly important that all of it should be mixed in. 

ON NEW WORK, if only one coat is to be applied, use 
as found in the package, if a deeper effect is desired, two 
coats can be applied, reducing the first coat bO per cent with 
turpentine. This will strike into and fill the surface and 
give depth of color and brilliancy to the finishing coat of 
Stain. Sandpaper lightly and apply one or more coats of a 
finishing varnish. 

ON OLD WORK, Oil Wood Stain being transparent will 
not produce its natural color over a dark surface. The 
various shades can be used over light woods with natural 
finish or to refinish woods of the same shade. Oil Wool 
Stain can also be used over a light painted surface, but a 
much better effect will be produced if used over a suitable 
ground color. 

As a suitable ground color for any of the shades shown 
on sample shade card, we recommend H. & M. Ground Color, 
see Page 181. 

A very natural effect can be produced on new or suit- 
ably prepared old work by first applying one coat of Oil 
Wool Stain and Glazing with one coat of The Heath & Milli- 
gan Varnish Stain of a corresponding color. Sandpaper 
lightly between coats. This brings out the depth and rich- 
ness of the color, leaving the finish with a luster which does 
not need varnishing. 

The depth of color depends largely upon the manner of 
application. A coat of Oil Wood Stain flowed onto the 
surface will give a deeper effect than if brushed out. 

Never use linseed oil in Oil Wood Stain. If thinning 
is necessary, use turpentine only. The addition of turpen- 
tine w r ill lighten the shale. 

Oil Wood Stain is put up in all sized packages from 
half-pints to barrels. 



180 Heath & MlLLlGAN Mpg. Co., 

THE HEATH & MILLIGAN VARNISH STAIN IN LIQUID 

FORM. 

A quick-drying varnish color for imitating natural 

woods. Can be used either on bare wood or over a suitably 
prepared surface which has been painted, stained or var- 
nished. It stains and varnishes in one operation. 

The Heath & Milligan Varnish Stain is made from the 
best coach varnish and will wear without cracking or 
chipping. 

{Shake the package well before opening. Remove the 
full head of the package and stir contents with a flat paddle. 

The Heath & Milligan Varnish Stain is a pigment color 
and care should be taken to have all of the pigment thor- 
oughly mixed in. 

See that the surface is clean, free from dirt, grease or 
finger marks and w T ell sandpapered. 

On new work, better results will be obtained if the sur- 
face is first filled to stop absorption. 

As a filler for hard, close-grained woods we recommend 
the Varnish Stain reduced 50 per cent with turpentine. 

For white pine and similar soft, close-grained woods, 
reduce the Varnish Stain with 25 per cent turpentine. Sand- 
paper lightly, and when dry one coat of Varnish Stain ap- 
plied over a surface filled as noted will bring out the full 
color as shown on the sample shade card. This coat will 
also act as a glaze, and a coat of varnish is not necessary. 

One coat of Varnish Stain applied on new work will 
produce a lighter effect than is shown on the sample shade 
card. Where one coat is used, flow the Varnish Stain onto 
the surface. When dry, sandpaper lightly and apply one 
coat of finishing varnish. 

Varnish Stain colors are transparent and will not give 
their true effect over a darker surface. Any of the shades 
shown may be used over light wood with natural finish or 
to refinish wood of a corresponding color. Varnish Stain 
may be used over a light painted surface, but a much better 
effect will be produced if used over a suitable ground or 
first coat color. As a suitable ground color for any of the 
shades shown on the Varnish Stain sample shade card, we 
recommend H. & M. Ground Color, see Page 181. 

One coat of Varnish Stain applied over a suitable ground 
color or for refinishing wood of a corresponding color will 
produce a varnish finish. 



Practical Painting. 181 

The Heath & Milligan Varnish Stain in Liquid Form— Continued. 

In refinishing chairs, tables or similar work, sec that 
the surface is perfectly clean and free from furniture polish, 
oil or grease. It is always safer to go over work of this 
class with a cloth dampened in turpentine. If there are 
worn places, they should first be touched up with Varnish 
Stain to even the surface. When dry, sandpaper the surface 
lightly and flow on a smooth even coat of Varnish Stain. 

Never use linseed oil in Varnish Stain. If thinning is 
necessary, use turpentine only. 

Varnish Stain is put up in half-pint, pint and quart 
friction-top cans, and half-gallon, gallon round sealed-top 
packages and larger packages when so ordered. 

H. & M. GROUND COLOR. 

Prepared to meet all the requirements of an undercoat 
for stains or graining colors which are to be applied over 
a dark painted, varnished, stained or worn surface. 

It dries hard and produces a smooth flat surface of a 
uniform light color suitable as an undercoat for any shade 
of The Heath & Milligan Varnish Stain. A ground color 
must be clear in order to produce a satisfactory effect with 
a stain. Over a dark painted or badly worn surface, two 
coats of Ground Color should be applied. Where two coats 
are used, the first coat should be reduced at the rate of one 
pint turpentine to a gallon of Ground Color. When hard dry, 
apply a second coat of the Ground Color as found in the 
package. If but one coat is to be applied, use as found in 
the package. See that the surface is dry, free from dirt 
and grease. Grease and oil stains should be removed with 
turpentine. Shake the can thoroughly before opening. Re- 
move the entire cover and mix contents thoroughly. If .thin- 
ning should be necessary, use turpentine only. 

Never add linseed oil to H. & M. Ground Color. 

Put up in half-pint, pint and quart friction-top cans, half- 
gallon and gallon round, sealed-top cans and larger packages 
when so ordered. 



182 Heath & Milligah Mjg. Co.. 

H. & M. LIQUID ENAMEL. 

H. & M. Liquid Enamel is ground in varnish and 
especially prepared for all kinds of bigfc-class interior deco- 
rating where a finish of high luster is wanted. 

Ready for use: dries in from six to eight hours, and is 
put up in quarter-pint, half-pint, pint and quart friction-top 
cans; half-gallon and gallon round cans, and larger 
packages. 

H. & M. Liquid Enamel is made in the attractive shades 
shown on the sample shade card; also in black and white. 

DIRECTIONS FOR USING H. & M. LIQUID ENAMEL. 

(Note information for new work, under the heading of 
"Enamel," Pages 117-118. For old work, under the heading of 
"Gloss Finish," Pages 124 and 125.) 

The surface to be enameled must be clean, dry and free 
from grease, dust and dirt. Scrape off all loose paint. Grease 
and oil stains should be removed with turpentine or 
benzine. 

L T se a fine bristle or fitch hair varnish brush. Apply the 
enamel freely. Keep the brush full. Do not rub out the 
enamel, but flow it on smoothly and evenly. If the enamel 
is stiff or works hard, add a few drops of turpentine, but 
not enough to destroy the gloss. Where the surface to be 
enameled is of a dark color or on new work, one or more 
coats of paint of about the same shade as the enamel to 
be used should first be applied. 

This paint must be reduced with turpentine to give a fiat 
or partly flat finish. 

See that the undercoats are dried through and perfectly 
hard before the enamel is applied. Paint may be dry on the 
surface but by no means dry through. 

Where two coats of enamel are used, the undercoat must 
be reduced with turpentine in the proportion of one pint to 
a gallon of the enamel. 

Finish with H. & M. Liquid Enamel as found in the 
package. 

INSTRUCTIONS FOR INSIDE FINISHING. 

With all classes of enamel work the following instruc- 
tions as to applying the enamel should be observed: 



Practical Painting. 183 

Directions for Using H. & M. Liquid Enamel— Continued. 

DOORS.— Paint the casings first and then the panels, 
using care not to let the paint run or lap over the stiles, 
forming heavy edges. 

WINDOWS.— Trace the sash first; afterward the casings. 
Avoid having too much paint between inside stops; other- 
wise it will keep the sash from working. 

See that all undercoatings are dry and hard through 
before subsequent coats are applied. If these coats arc only 
surface-dry the enamel is sure to crack. 

NEVER USE LIXSEED OIL IX ENAMEL. It is certain 
to make it remain tacky. 

If in cold or chilly weather the enamel works too heavy 
and any thinning should be necessary, use a small amount of 
turpentine. Avoid using too much; otherwise it will destroy 
the luster. 

Go over the surface quickly with a full brush, as the 
enamel dries very rapidly. Mix the enamel thoroughly and 
to a uniform consistency before starting to work. 

TO ENAMEL IN COLORS ON NEW WORK. 

Work of this description can be done at a cost slightly 
more than ordinary three coat painting. The method is as 
follows: 

PRIMING COAT. 
100 pounds Railway White Lead. 
2% gallons Turpentine. 
14 gallon Raw Linseed Oil. 
% gallon Light Colored Turpentine Japan. 
When this coat is hard dry, sandpaper lightly with No. 
1 sandpaper. Apply a second coat of paint tinted to the 
shade of the enamel to be used, and reduce as follows: 
100 pounds Railway White Lead. 
2% gallons Turpentine. 
y s gallon of the Enamel to be used. 
% gallon Light Colored Turpentine Japan. 
When this is hard dry, sandpaper lightly with No. >- 
sandpaper. Do not sandpaper through on the edges. 

For the finishing coat flow on a smooth, even coat of 
enamel as found in the package. 

TO ENAMEL IN WHITE. 
Pine and other soft woods should receive a coat of white 
shellac before painting. When dry, thoroughly sandpaper 
with No. 1 sandpaper. 



184 Heath & Millioan Mfg. Co., 

i 
Directions for Using H. & M. Liquid Enamel— Continued. 

The Heath & Milligan Railway White Lead takes more 
reducer and is preferable to strictly pure white lead. Where 
Railway W T hite Lead is used for undercoating it should !»»' 
reduced as follows: 

FIRST PAINT COAT. 

100 pounds Railway White Lead. 
2V> gallons Turpentine. 

1 pound H. & M. Best Patent Dryer. 

y 8 galion H. & M. White Liquid Enamel. 
Where Best Patent Dryer is recommended, use in ac- 
cordance w^ith directions on Page 159. 

Mixed in this way there is abundance of time in which 
to work the paint out before it sets. It will dry flat. When 
hard dry, sandpaper smoothly with No. % sandpaper. Dust 
off and give a coat of dead flat white reduced as follows: 

100 pounds Railway White Lead washed with tur- 
pentine, according to instructions given on 
Page 164, under the heading of "Dead Flat Fin- 
ish." 

2 gallons Turpentine. 

% pound H. & M. Best Patent Dryer. 

% gallon H. & M. White Liquid Enamel. 

If three coats of flat color are to be used under Enamel 
Finish, apply two coats of the First Paint Coat Mixture and 
one coat of dead flat. 

When this is hard through, sandpaper lightly and even- 
ly with No. sandpaper, taking care not to go through on 
the edges and sharp corners. 

Apply a coat of H. & M. Liquid Enamel, reduced at the 
rate of a half-pint to a pint of turpentine to one gallon of 
enamel, according to weather conditions. More turpentine 
is necessary in cold or chilly weather than in hot or humid 
weather. 

Allow at least 48 hours for this coat to dry. Sand- 
paper lightly with No. 00 sandpaper or rub thoroughly 
with curled hair to remove the gloss. Dust off thoroughly 
and flow on a smooth, even coat of enamel as found in 
the package. This will dry dust free in one hour, harden 
through in four days and leave a high gloss or china finish. 



Practical Painting. 185 

THE HEATH & MILLIGAN SATSUMA INTERIOR ENAMELS. 

For years enamels have been considered too expensive 
for general purposes. The great demand for an enamel 
which could be sold at popular prices and still be of su- 
perior quality induced us to make our Satsuma Interior 
Enamels. They are not the result of a day's thought, but 
the product of years of experience and experimenting in 
this class of goods. 

Satsuma Interior Enamels are for use on walls, wood- 
work and all classes of interior decorations. 

To enamel a gloss surface or one which has been var- 
nished, the gloss must be removed by thoroughly sandpa- 
pering with No. 1 sandpaper. 

If the surface is light colored or about the shade of 
the enamel to be applied, one or two coats of enamel can 
be applied without undercoatings. For white or light tints, 
if the surface is of a dark color, after sandpapering to a 
smooth surface apply two coats of The Heath & Milligan 
Best Prepared Paint Inside White. Allow each coat to harden 
through, then lightly sandpaper with No. y» sandpaper and 
apply one or two coats of enamel. In all cases allow each 
coat to dry thoroughly and sandpaper between coats. 

To enamel a plastered wall which has been calcimined, 
the calcimine must first be washed off and the wall coated 
with two coats of Best Prepared Paint of about the shade 
of the Satsuma which is to be applied, reducing the Best 
Prepared Paint to an eggshell gloss; then finish with one or 
two coats of Satsuma. 

Satsuma sets much quicker than oil paints and. must 
be put on with a full brush. 

NEVER ADD LINSEED OIL TO SATSUMA INTERIOR 
ENAMELS. If any thinner is necessary, use turpentine only. 

Be sure all undercoatings are hard dry before applying 
subsequent coats. 

Remove all gloss from undercoatings, as a gloss coat 
can not be successfully applied over a gloss coat. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN SAT- 
SUMA INTERIOR ENAMELS. 

(Carefully note General Directions, Pages 131 to 134, in- 
clusive.) 

In all cases prepare the surface and enamel in accord- 
ance with directions. 

Apply the enamel freely. Keep the brush full. Do not 



186 Heath & Milligan Mfg. Co.. 

Directions for Usin.i; The Heath & Milligan Satsuma Interior 

Enamels— Continued. 

rub out the enamel; flow it on smoothly and evenly, if 
the enamel is stiff or works hard, add a few drops of tur- 
pentine, but not enough to destroy the gloss. 

The more explicit information given under the heading 
of "The H. & M. Liquid Enamel," Pages 182 to 184, inclusive, 
applies to Satsuma Interior Enamels. The information re- 
garding undercoatings for new work, given on Page 184, can 
be applied to Satsuma Interior Enamels. 



Practical Palmi.nc. 187 



THE HEATH & MILLIGAN EBONY STOVE PIPE ENAMEL. 

Ebony Stove Pipe Enamel produces a durable black, 
glossy finish on iron work of any description. 

Especially made for enameling; iron surfaces and par- 
ticularly adapted for gas, gasoline and oil stoves, stove- 
pipes, sewing- machines, radiators, registers, hot and cold 
water pipes, gas pipes, sewer pipes, meters, coal hods, gar- 
den tools, pumps and iron fences. 

Ebony Stove Pipe Enamel prevents rust. 

Ebony Stove Pipe Enamel will not flake nor peel off. 
It is nor a quick dryer, consequently forms a tough, elas- 
tic coating and one which will withstand a reasonable 
amount of heat. 

Ebony Stove Pipe Enamel dries hard in 24 hours on 
cold metal. 

Ebony Stove Pipe Enamel is put up in quart, pint and 
half-pint friction-top cans, also gallon and half-gallon cans. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN EBONY 
STOVE PIPE ENAMEL. 

Pry up the cover with a coin or nail. Stir the con- 
tents thoroughly from the bottom and apply a smooth, even 
coat with a bristle brush. 

Clean rusty articles with sandpaper. Have the surface 
free from dirt before enameling. 

One coat is sufficient to produce an excellent finish with 
a high gloss. 

Ebony Stove Pipe Enamel is ready for use as found in 
the package. If thinning should be necessary, THIN WITH 
TURPENTINE OF BENZINE ONLY. NEVER ADD LIN- 
SEED OIL TO EBONY STOVE PIPE ENAMEL. 



188 Heath & Milligan Mfg. Co., 

THE HEATH & MILLIGAN BATH TUB ENAMEL. 
(Made in white only.) 

Especially prepared for enameling bath tubs, sinks, laun- 
dry tubs or any surface which comes in contact with water. 

If applied over a suitable undercoating, The Heath & 
Milligan Bath Tub Enamel will give an elastic and durable 
enamel finish which will withstand contraction and expan- 
sion without cracking or peeling. 

Put up in quarter-pint, half-pint, pint and quart friction* 
top cans. 

As after results depend largely upon the undercoatings, 
carefully note the following directions. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN BATH 

TUB ENAMEL. 

Thoroughly clean the surface with hot water and Sa- 
polio, being sure to remove all grease. Rinse off with cold 
water. When perfectly dry, sandpaper the surface with 
No. 1% sandpaper. Remove all dust. Apply one thin coat 
of white lead reduced with turpentine and a small amount 
of japan dryer. Allow at least two days for this first coat 
to dry. 

When thoroughly dry, sandpaper with, No. sandpaper. 
Remove all dust. Pry up the friction-top cover with a coin 
or nail. To be sure the enamel is thoroughly mixed, pour 
the contents of the can into a clean, dry cup and stir in any 
pigment remaining in the bottom of the can, and after thor- 
oughly mixing, with a fine bristle or fitch hair varnish 
brush apply a smooth, even coat of enamel as found in the 
package. Use a full brush. Apply the enamel freely. Do 
not attempt to rub out the enamel. If a high enamel finish 
is desired, two coats of enamel can be applied over the first 
lead coating. The undercoating of enamel should be reduced 
in the proportion of one-eighth pint of turpentine to a quart 
of enamel Apply a finishing coat of The Heath & Milligan 
Bath Tub Enamel as found in the package. Be sure all un- 
dercoatings are hard dry before applying further coatings. 
Do not apply the coats too heavily. Allow at least three 
days for the enamel coat to dry. 

Fill the tub first with cold water, draw off part of the 
water and gradually temper with hot water. 

NEVER USE UNSEED OIL IN BATH TUB ENAMEL. 
IF THINNINO IS NECESSARY USE TURPENTINE ONLY. 



Practical Painting. 189 

THE HEATH & MILLIGAN CLIMAX BUGGY PAINT. 
READY FOR USE. 

Climax Buggy Paint is a general favorite for painting 
and repainting buggies, chairs, furniture, lawn seats, wagons, 
sleighs or any surface where a hard, glossy and beautiful 
linish is wanted. 

Climax Buggy Paint is an excellent article as a finish- 
ing coat on window sashes. 

Climax Buggy Paint is ground in a similar manner to 
our Superfine Coach Colors and is reduced to the proper con- 
sistency for use with durable coach varnish. 

Climax Buggy Paint dries with a high luster. 

Put up in half-pint, pint and quart friction-top cans. 

Made in the nine beautiful shades shown on the sample 
shade card. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN 
CLIMAX BUGGY PAINT. 

The surface to be painted must be clean, dry and free 
from grease, dust and dirt. Scrape off all loose paint. 
Grease and oil stains should be removed with turpentine 
or benzine. 

Apply Climax Buggy Paint with a clean, flat bristle 
brush. Work the paint out under the brush with just suffi- 
cient pressure to produce a smooth and even surface. 

The number of coats required depends entirely on the 
surface to be painted and the previous coating. 

Black, Green and Brewster Green are solid colors and 
one coat will give a good finish over almost any color, pro- 
vided the surface is in good condition to receive paint. 

In repainting a buggy, carriage or wagon, the felloes are 
always found to show the greatest wear. To make a uni- 
form job of one-coat work the worn parts should first be 
touched up with the color to be used. When dry, which will 
be in about eight hours, coat the whole surface with Climax 
Buggy Paint as found in the package. 

Yellow, Vermillion, Blue, Auto-Red, Carmine and Wine 
are not opaque and one coat will not cover unless applied 
over a similar color. 

Where a dissimilar color was originally used, two coats 
of Yellow, Vermilion or Blue should be applied. 

Two coats of Auto-Red or Carmine will produce the 



190 JlEATIL & Mll.l.KiAN iMFG. Co., 

Directions for Using The Hc.illi & Millig.-ni Climax Bugtfy Paint— 

Continued. 

colors shown on the sample shade card. If used over Ver- 

miiion they will show a lighter red. If used over Wine they 

will show a deeper red. 

Wine, if used over itself, will produce the color shown 
on the sample shade card. If tighter Wine is wanted. Wine 
<-an be used over Vermilion: this will produce a rich, light 
Wine color. 

In all cases where two coats are used, the surface should 
be lightly sandpapered and all the dust removed before the 
finishing coat is applied. 

If a can of Climax Buggy Paint is left open for some 
time, part of the thinner will evaporate arid the paint may- 
become too thick. IN SUCH CASE ADD A VERY LITTLE 
TURPENTINE, remembering always that too much turpen- 
tine spoils the gloss. 

NEVER ADD LINSEED OIL TO CLIMAX BUGOX 
PAINT. 



I'kactical Painting. 191 

THE HEATH & MILLIGAN WAGON AND IMPLEMENT 
PAINT IN LIQUID FORM. 

Wagon and Implement Paint can be used for general 
painting where a paint of fair quality is wanted. 

Wagon and Implement Paint is put up in gallon, half- 
gallon, quart, pint and half-pint cans. 

Made in the six standard shades shown on the sample 
shade card. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN WAGON 
AND IMPLEMENT PAINT. 

(Carefully note General Directions, Pages 131 to 134, in- 
clusive.) 

In all cases prepare the surface and the paint in ac- 
cordance with directions. 

In preparing Wagon and Implement Paint we have taken 
full advantage of the preserving and filling properties of 
paint ingredients, the first coat acting as a filler. It pro- 
duces a smooth and even surface for the subsequent coat, 
which acts as a preservative. 

Blue, Vermilion, Wagon Red, Green and Yellow are for 
painting either wood or iron, and when thinned for two-coat 
work should be reduced only with pure raw linseed oil. 

Black is a varnish color, and is especially recommended 
for all iron parts on implements, pumps,, engines, boilers, 
etc. It can also be used on wood. Being a varnish color it 
must be thinned, if necessary, WITH TURPENTINE ONLY. 

NEVER USE LINSEED OIL IN BLACK. 

For one-coat work, Wagon and Implement Paint is ready 
for use. Apply it as found in the package. 

For two-coat work, which includes all old or weather- 
beaten surfaces, thin the first coat of Blue, Vermilion, Green, 
Wagon Red or Yellow with from 25 to 50 per cent pure raw 
linseed oil, according to the porosity of the surface. If 
Black is used, thin only with turpentine as noted above. 

Do not be afraid of having the paint too thin for the 
first coat. The body or covering will come out with the sec- 
ond coat. 

Allow plenty of time for the first coat to dry before ap- 
plying the second coat. 

Wagon and Implement Paint for the second coat should 
be used as found in the package. 



192 Heath & Milligais Mfg. Co., 



THE HEATH & MILLIGAN FAMILY PREPARED PAINT IN 

LIQUID FORM. 

Family Prepared Paint is made in the attractive shades 
shown on the sample shade card; also in white and black. 

Put up in pint and half-pint cans. 

Family Prepared Paint is strictly first-class and not to 
be compared with the inferior grades usually put up for 
inside use. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN FAMILY 
PREPARED PAINT. 

The surface to be painted should be clean, dry and free 
from grease, dust and dirt. All grease and oil stains should 
be removed with turpentine. 

Cut out the full soft top. This is thin tin and can easily 
be cut with a can-opener or pocketknife. 

For all inside work, light and air are necessary for the 
proper drying of paint. Tn hot or humid weather paint is 
apt to remain tacky. 

A free circulation of air is absolutely necessary to prop- 
erly harden paint. 

If too thick for any special purpose, add a very small 
quantity of turpentine. 



Practical Painting. 193 



THE HEATH & MILLIGAN SCREEN DOOR PAINT. 

Made in green and black. 

Especially prepared for painting window and door 
screens. It can be used on both the wooden and wire parts. 

Will preserve the wire from rust and the wood from 
swelling or breaking joints. 

The Heath & Milligan Screen Door Paint is put up in 
quart, pint and half -pint cans. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN 
SCREEN DOOR PAINT. 

The surface to be painted should be clean, dry and free 
from grease, dust and dirt. Scrape off all loose paint. A 
broom with a bucket of water or hose can best be employed 
to remove accumulation of dust and dirt. 

See that the surface is perfectly dry before applying the 
paint. 

If thinning is necessary, USE TURPENTINE ONLY. 

NEVER USE LINSEED OIL WITH THE HEATH & MIL- 
LIGAN SCREEN DOOR PAINT. 



194 Heath & Mili.ioan Mfg. Co., 

THE HEATH & MILLIGAN LUNA ALUMINUM PAINT. 

READY FOR USE 

Produces a smooth, rich silver finish with .1 high luster. 
Will not tarnish nor turn black. 
Adapted for interior and exterior use. 
Can be used on any paintable surface. 
Will withstand heat and cold and is not affected by 
moisture. 

The Heath & Milligan Luna Aluminum Paint is an ex- 
cellent rust preventive for metallic surfaces. 

Especially adapted for open plumbing, radiators, regis- 
ters, engines, boiler fronts, letter boxes, lamp posts, hitching 
posts, stove pipes, interior of ovens, metal ceilings, sewing 
machines, bicycles, picture frames, beds, chairs and any class 
of surface where a silver finish is wanted. 

Has no disagreeable odor and can be used to repaint over 
itself. 

Put up in quarter-pint, ha If -pint, pint and quart friction - 
top cans; half -gallon and gallon round sealed-top cans, and 
larger packages. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN LUNA 
ALUMINUM PAINT. 

The surface to be painted must be clean, dry and free 
from grease, dust and dirt. Scrape off all loose paint. Grease 
and oil stains should he removed with turpentine or ben- 
zine. 

Metallic surfaces must be thoroughly sandpapered to 
remove all rust. 

Stir occasionally while using. 

To all porous surfaces a coat of white shellac should be 
first applied. 

With a fitch or camel hair brush flow on a smooth, even 
coat. 

For all ordinary work one coat will produce satisfactory 
results. 

For exposed or heated surfaces two coats are recom- 
mended, applied six hours apart. 

Keep the can covered when not in use. 

If any thinning is necessary, USE TURPENTINE ONLY. 



Practical Tainting. 195 

THE HEATH & MILLIGAN ELECTRIC WOOD FILLER. 

Made in paste form for use on all porous woods. 

This Filler is prepared from materials which many 
years of practical experience and careful study have proven 
to be the best surfacers. It tills the pores of the wood per- 
fectly, dries rapidly and leaves the work in proper condition 
for finishing. 

The Heath & Milligan Electric Wood Filler is made in 
four shades, viz.: Light, Dark, Antique Oak and Golden Oak. 

Light Electric Wood Filler produces a natural Oak effect, 
while the Dark Electric Wood Filler produces a Walnut or 
Medium Antique Oak effect. Antique Oak Electric Wood 
Filler produces a dark shade of Antique Oak. This can be 
lightened to produce any desired effect in Antique Oak by 
the addition of Light Electric Wood filler. The Golden Oak 
Electric Wood Filler produces on open-grained woods, where 
the surface is finished with Orange Shellac, a Golden Oak 
effect. 

It must be borne in mind that where shellac is used for 
coating over Electric Wood Filler the effect produced on 
the wood depends entirely upon the color of the shellac used. 
White Shellac will produce the natural shade of the wood, 
while Orange Shellac will give it a golden or darker effect. 
Any desired effect can be produced by mixing the proper 
proportions of Orange and White Shellac. 

Electric Wood Filler is put up in 1, 2, 3', 5, 10 and 25 
pound cans, 100 pound kegs, half-barrels and barrels. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN ELEC- 
TRIC WOOD FILLER. 

After the wood is properly dressed, thin sufficient Filler 
for immediate use with either turpentine or benzine. 

This should be of a priming coat consistency, reduced 
as follows: 

5 pounds Electric Wood Filler. 
iy 2 pints Turpentine or Benzine. 

This sets very quickly and can be tempered to suit the 
work on hand by the addition of a few drops of raw linseed 
oil. 

The oil will also keep the Filler from showing gray in 
the pores of the wood. 

Keep the mix well stirred at all times. 

Flow on a coat with a bristle brush. When the Filler 



196 Heath & Millioan Mfg. Co., 

Directions for Using The Heath & Million Electric Wood Filler- 
Continued. 

is partly set or turning white, wipe off with excelsior or 
burlap, rubbing across the grain, removing all that will not 
rub into the grain. 

Have a sharp-pointed hardwood stick to clean around 
the mouldings and grooves. Do not use a putty knife, as it 
will leave black marks. 

Let the filled wood stand from 8 to 12 hours; this will 
allow the Filler to thoroughly harden. 

Sandpaper thoroughly, dust and coat with shellac or 
Light Liquid Wood Filler. 

Sandpaper lightly and finish with one or more coats of 
Light Hard Oil Finish. Ask for our booklet: "Superfine 
House Finishes and Instructions for Finishing Natural 
Woods." 



Practical Painting. 197 

H. & M. FLAT BLACK. READY FOR USE. 

For interior decorating or finishing color for exterior 
work which is to he varnished. 

Prepared from the highest grade Ivory Drop Black 
ground in japan, reduced to "ready for use" consistency with 
turpentine and the necessary hinder. 

Dries quickly and flats perfectly. 

Produces a dead hlack finish on any metallic or wooden 
surface. Suitable for use on lamps, chandeliers, beds and 
similar metallic surfaces, producing a wrought iron effect; 
also suitable for use on picture frames, mouldings, tables, 
grill work or any wooden surface where a dead ebony ftjish 
is wanted. 

For interior work it can be applied to either a bare or 
finished surface, but where it is to be used on bare wood, 
better results will be obtained if the surface is first coated 
with a thin mixture of Lead Color Paint, partially flatted 
with turpentine to stop absorption and allow of proper bind- 
ing. 

For store fronts, signs or any exterior work which is to 
be finished in gloss, the surface, according to conditions, 
should first receive one or more coats of Lead Color Paint, 
mixed half flat with turpentine. When thoroughly dry, ap- 
ply a finishing coat of Flat Black, allowing this coat to 
thoroughly harden, and finish with exterior finishing var- 
nish. 

Put up in half-pint, pint and quart friction-top cans acd 
half-gallon and. gallon square cans. 

DIRECTIONS FOR USING H. & M. FLAT BLACK. 

The surface to be painted should be clean, dry and free 
from grease, dust and dirt. All grease and oil stains should 
he removed with turpentine. 

H. & M. Flat Black should not be applied over a gloss 
surface. If the surface has been painted or varnished, the 
gloss must be cut by thoroughly sandpapering the surface 
with No. sandpaper. 

Stir thoroughly from the bottom up with a flat paddle 
and use as found in the package. Occasionally repeat the 
stirring while using. 

Apply a smooth, even coat with a camel hair or fitch 
brush. 

Do not apply Flat Black too heavily. A heavy coating is 



198 Heath & Millh.an Mfg. Co., 

Direction for Ufflbg H & M Flat Black— Continued, 
very apt to crack through contraction and expansion. If 
two coats are applied, be snre the undercoating is thorough- 
ly dry before applying the second. 

Keep the can covered wlien not in use. 

If any thinning is necessary. USE TURPENTINE 0N1.Y. 



Practical Painting lb t 



THE HEATH & MILLIGAN LIGHT LIQUID WOOD FILLER. 

This is a substitute for White Shellac as a surfacer for 
inside finishing-. 

Excellent as a filler for all close-grained woods, also for 
open-grained woods which have been filled with paste filler. 

It renders a perfect foundation for a finishing coat on 
any kind of wood. 

Covers more surface than shellac. 

Is applied the same as shellac or varnish. 

Does not require rubbing off. 

Penetrates the wood to a proper depth, closes the pores 
and absolutely prevents suction, absorption or sinking in of 
the varnish or other outer coats. 

Is perfectly transparent and will not discolor the lightest 
wood. 

Will not crack nor peel. 
Does not raise the grain of the wood. 

Is ready for use. 

If thinning should be necessary, through loss by evapo- 
ration or otherwise, USE TURPENTINE ONLY. 

Put up in pint, quart, half -gallon and one-gallon round 
cans, three-gallon and five-gallon jacket cans, half-barrels 
and barrels. 



200 ' Heath & .Millk.a.n Mfg. Co., 

THE HEATH & MILLIGAN BEST GRAINING COLORS. 

If the work to be grained is white pine, the surf a < « 
must first receive a coat of white shellac or Light Liquid 
Wood Filler. 

Apply two coats of paint, mixed half flat and tinted to 
the proper ground color for the work in hand, allowing am- 
ple time between coats for thorough hardening. 

Putty all seams and nail holes between coats. 

Sandpaper lightly between coats. 

If three coat work, tint to shade and apply the first coat 
half flat? the second coat with an eggshell gloss. 

Putty between first and second coats. 

Thoroughly sandpaper and finish with paint mixed half 
flat. 

As a suitable ground color on new work which has been 
sized or as a foundation color over a painted, varnished or 
stained surface, we recommend H. & M. Ground Color, see 
Page 181. 

This is of a uniform light shade, but if a redder effect 
is desired it can be changed by the addition of a small 
amount of Dry Burnt Sienna. 

The Heath & Milligan Graining Colors should be reduced 
with 2-3 turpentine and 1-3 boiled linseed oil to the con- 
sistency of a stain. 

Apply with a bristle brush, having very little color in 
the brush, and rub out thinly and evenly. Comb and wipe 
out according to the wood to be imitated. 

When hard dry, apply one or more coats of finishing 
varnish. 

CAUTIONS. 

Be sure and prepare a suitable shade of ground color, as 
the natural effect depends largely on this undercoat. 

All undercoats must be hard dry before applying sub- 
sequent coats. If these coats are not hard dry, the work 
is bound to crack. 

Graining colors should not be applied as a paint They 
are glaze colors and should be reduced and applied as before 
mentioned. 

The graining color must be dry before the varnish is 
applied. If not, the varnish will remain tacky and crack. 



Practical Painting. 201 

THE HEATH & MILLIGAN SUPERFINE COACH COLORS. 

Our Superfine Coach Colors are of the highest quality in 
every respect, excelling in beauty, brilliancy, durability, clear- 
ness of tone and fineness of texture. They are ground to 
the last degree of fineness, meeting every requirement de- 
manded of a product of this kind and giving absolute satis- 
faction when properly used. The dry colors used in the manu- 
facture of Superfine Coach Colors are either of our own manu- 
facture or direct importation and are of the highest standard 
possible to obtain. 

Superfine Coach Colors are ground in a preparation accord- 
ing to their requirements. They dry quickly, flat perfectly 
and possess the necessary binding properties. They should 
be thinned with turpentine only, but if they dry too quickly, 
the drying may be retarded by adding raw linseed oil or a 
little rubbing varnish in such proportions as experience may 
dictate. 

To properly break up the Japan color, take a given 
amount, place it in a mixing cup and beat it up thoroughly; 
then add a small amount of turpentine, thoroughly beating 
this into the color. Repeat this operation and when the ma- 
terial has reached a semi-paste consistency, the remainder of 
the thinners should be gradually added until the paint is a 
proper consistency. 

We do not guarantee satisfaction from the use of our 
Coach Colors if Japan, or any material other than turpentine, 
raw linseed oil or rubbing varnish as directed is used in mix- 
ing them. 

The colors shown on the sample shades appearing in our 
Coach Color book have been applied over a suitable ground 
color in order to illustrate the true tone and color value of 
our Superfine Coach Colors as found in the package. 

Superfine Coach Colors are put up in 1 lb. cans; 5 lb. and 
10 lb. pails; 5 lb. and 10 lb. press cans, each with a patent soft 
top and each package accompanied by a tight fitting extra 
cover, which can be used after the top has been cut out. 

As a guide to prepare suitable ground colors so that our 
Superfine Coach Colors will produce the same effect as shown 
in our Coach Color Book, we show sample shades of the 
grounds used in our sample card department in preparing 
Sample Shades of our Superfine Coach Colors. 

In preparing a ground color for the work in hand, a lighter 
or a deeper effect can be obtained by making a corresponding 
change in the ground color. 



202 Heath & Mili.kan IMfg Co., 

THE HEATH & MILLIGAN WIZARD PAINT AND VARNISH 

REMOVER. 

Removes paint, varnish and shellac. 

K.isy to apply, quick in art ion, will penetrate to any 
reasonable depth, will not spot, blacken nor raise the grain 
of the wood. 

Can be applied over a large surface. 

Cleans to the original surface quickly and perfectly. 

No bleaching is required after using Wizard Paint and 
Varnish Remover. 

While Wizard Paint and Varnish Remover does not con- 
tain turpentine nor benzine, it should be handled with the 
same precaution as to exposure to a naked light as one 
would exercise with turpentine, as the solvents used are 
more or less volatile and inflammable. 

Wizard Paint and Varnish Remover is so prepared that 
it forms a surface film, stopping evaporation and allowing 
of penetration, also assisting in holding the Remover to an 
upright surface. 

Wizard Paint and Varnish Remover will be found of a 
different consistency in summer than in winter. It is easily 
tempered according to w r eather conditions for either a flat 
or upright surface, making the one Remover adapted to 
either surface. 

Put up in half-pint, pint, quart, half-gallon and gallon 
square cans, and larger packages. 

DIRECTIONS FOR USING THE HEATH & MILLIGAN WIZARD 
PAINT AND VARNISH REMOVER. 

Shake the can vigorously end for end before opening. 

If found too heavy in cold weather place the container in 
n pail of water registering 80 to 90 degrees, or too thin in hot 
weather, place the container in a pail of water registering 50 
to 60 degrees) ; this brings the Remover to any desired consist- 
ency. 

If found too limpid for summer use on an upright sur- 
face, starch, carbonate of magnesia, whiting or any inert 
pigment can be mixed with it to form a paste consistency 
without detriment to the Remover. 

With a flat brush w t hich is set in giaje, apply a heavy 
coating of the Remover and allow 7 it to remain on the surface 
until the paint or varnish is thoroughly softened. Then 



Practical Painting. -03 

Directions for Using The Heatb & Mllligan Wizard Paint and 
Varnish Remover— Continued. 

clean the surface with a scraping knife. 

Mouldings, beaded work, etc., on which a scraping knife 
can not be used, can be washed off with turpentine applied 
with a brush or rag. 

If a second application of the Remover is necessary, re- 
move the softened surface before applying the Remover a 
second time. 

Do not cover a larger surface than can be handled with- 
in a reasonable length of time. 

As fast as finished, clean the surface with turpentine 
or benzine. 

Wizard Paint and Varnish Remover will thoroughly clean 
any old, dirty, lousy paint or varnish brush. No matter how 
long the brush has been standing or how hard set with 
paint or varnish, Wizard Paint and Varnish Remover will 
loosen every particle of old, hard paint or varnish, both in 
the bristles and on the handle, restoring the brush to a 
useful condition. 

DIRECTIONS FOR, CLEANING BRUSHES WITH THE HEATH 

& MILLIGAN WIZARD PAINT AND VARNISH. 

REMOVER. 

Take a cup or vessel proportionate to the size and num- 
ber of brushes to be cleaned: put the brushes into the cup: 
then pour into the cup enough of the Remover to cover the 
bristles or hair; let stand until the Remover has cut through 
and loosened all of the paint. From time to time manipulate 
the brushes so as to separate the bristles, thus allowing the 
Remover to reach all parts. After all particles of the old 
paint are loose, wash the brushes in either turpentine or ben- 
zine. Yon will then find them in almost perfect condition. 



SEP 7 19C5 




SOME OF OUR S 







Be 
pa 

IS 

fo: 



OUlUUimniga 



014 051 



ends around the house. 

Screen Door Paint, for 
painting window and 
door screens, both wood 
and wire parts. 



WU2&a&*4®F» B 



Floor Paint, for painting 
outside porches and 
floors. 

WUSna£&V^^aH^ pIint, n for n painting e wag- 

ons and farm implements. 

Climax Buggy Paint, un- 
equaled for repainting 
buggies, carriages, chairs 
and lawn seats, or any 
work where a hard, glossy 
finish is wanted. 



2&«?£*^*%* 



decorative purposes. 



WUS^^a^tft* "?*' forgen " 



Stove Pipe En- 
for enameling all 
iron surfaces, stovepipes, 
etc. 

Varnish Stain will cor- 
rectly imitate natural 
woods over any surface 
properly prepared. 

&4U&& "The Most Per- 
fect of Floor Paints." 

AND 

SUNSHINE Finishes, 

For finishing and refinishing Furniture, 
Floors, Bric-a-brac, and interior wood- 
work of all kinds. 
Form 68. C-9-1-60. 



